|Climber 7×7 Collagraph with colored pencil on Arches paper Sold|
Available in my Etsy shop.
Process shots begin at the bottom of this post.
This is the fourth collagraph in a series (you can see the others here, here, and here) and I’m having a gluttonously good time in the studio making and printing these plates. They are so simple, but they offer an abundance of variation for subject matter, texture, colors and atmosphere. I’ve always loved painterly printmaking techniques (one of the reasons I love making dark field monotypes), but these are great because I can print a small edition (in this case, ten) and alter the colors and atmosphere in each one. I’ve printed the bike & t-shirt for this one in a few colors, and I think I’d like to make one or two of them into night scenes. The next colagraph is almost ready for ink, so I’ll post it after the weekend. Stay tuned!
I listen to books while I paint or carve or print, and I’m re-visiting a book I read 10 years ago – My Antonia, by Willa Cather. An unexpected surprise from listening to this particular book – instead of reading it – is that the narrator, Jeff Cummings does a wonderful job narrating each character with their native Bohemiam or Swedish or Russian accents, so the names & dialogue spring to life with his artful interpretation of their dialect and inflections. If you’ve never listened to a book while making art, give it a go. It’s possible that keeping a little corner of the brain engaged in listening to a story helps halt the hands from noodling in one area for too long and over-working things. And if you love the book, it keeps you working longer, and helps infuse the art with some of the atmosphere of the story you’re listening to. We get to make art and read a book at the same time – and that’s got to qualify as a whole truckload of yahoo, right? 🙂
|The first four prints, drying on my easel|
|Pulling the first print on the press|
|After inking the plate a la poupee, I’m wiping
some areas to lighten values
|What the mat board looks like after cutting away areas for ink,
and before I added carborundum to hold concentrated ink in the darkest areas.
|After drawing and then sealing the mat board front and back, I’ve cut around the darkest
areas and I’m carefully peeling the top layer of the mat board away.
Thanks for stopping by!
|Studio & Art happenings in between posts|