I’ve been looking at my book of etchings and dry points by Anders Zorn(1860-1920), and they always fire me up with skill-craving and work-harder-inspiration. I want to get better at drawing in general, and printmaking that uses drawing. I’ve also been looking at an artist who’s work inspires me with his quiet, ephemeral figures – Thomas Wilmer Dewing (1851-1938). While making the plate for this piece (process shots start at the bottom), and painting the artist’s proof to remind myself where darks and lights should mingle, I’ve been referring to books on both artists. I still have a lot to do before the drypoint plate is finished, but I’m really enjoying the lessons I see in each artist’s extraordinary work.
Thanks for stopping by today, and I’ll see you in the next post,
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|Palette and the drypoint print, with watercolors|
|The drypoint on plexiglass plate and the artist’s proof print on the press bed|
|After a trip through the press, pulling the drypoint print (Revere paper)|
|Using Akua Intaglio ink (in Graphite) on the plexiglass drypoint plate to pull a test print.|
|An 8×10 sheet of plexiglass and the beginnings
of a drypoint of my reading figure incised in the surface
Train the people to be lovers of what is best in their own particular work, and Art will again become as near and dear to the people as it was when the great men of the Renaissance came trooping from the workshops of Italy to fill our galleries with the immortal results of their splendid labor.
~John White Alexander (1856-1915) from a speech – cir 1901-1912