I’ve been working to get my catalog for the WAMA show in to the printer, and yesterday I picked up the hard copy proof. The reproductions look great, so I’m really excited. I’ve got a few small things to fix over the weekend — it’s always easier for me to see mistakes on paper than on multiple pages on a screen, but I’m really pleased and so glad I decided to put the time in to do this. It’s 32 pages, so the length of a children’s picture book. It won’t be a hefty art book, but it’s a nice size at 10” square, and the plates of the art printed beautifully. It will mean a lot to have a book to remember this show.
I took advantage of another medium nice day and sketched again in the forest. Just a quick one with walnut ink and the dip pen plus watercolor. I enjoyed the dancing shape of this log. Mostly I'm framing just now, but I'm trying to seize the decent days in the cold part of winter to draw a little outside on my walk.
My summer project for fun was to do several prints of my art heroes, kind of a household gods series. One of them, of course, was Walter Anderson. The tricky bit, though, was that I was away from my home library, so I googled images of him instead of looking in my books the way I would have done at home. He looked, at least when they were young, strongly like his brother Mac, and Google lied to me and told me a photo of Mac was actually Walter. I did the print on the left, using images from his community center murals to surround the figure, and I was really pleased with the print. Sadly, later the very kind curator at WAMA told me regretfully that I had used the wrong photo from that day. Walter was wearing a pullover instead of a cardigan, and his hair was a little different. Since the family will see the show at the museum, I needed to be more historically accurate. So I carved away the buttons and managed to add some ribbing at the bottom of the sweater in places where the shadows were reaching up. The thing about printmaking is that you can keep taking things away all day. You cut away for the white in the print, and you leave the dark bits. Once you’ve cut away the dark bits, though, you really can’t put them back. I would have handled the throat and neckline differently if I had been starting from scratch. It’s a smallish issue, and likely no one but me will really look at it, but I’m left with a print that is less satisfying to me than the original.
So I’ve done two editions. Once you make noticeable changes to a block you can re-edition it and call it a new print. I printed what turned out to bee 44 good ones of the one on the left with the buttons and wavier hair before I cut more away. The pelican eyes fill up with ink easily (I try to clear them out between each printing), so I threw a few out (which happens with most prints). I’ve set an edition of 100 of the newer one, because it will be for sale in the museum store, and I’ve printed a first good batch of them. But I still think of the first one as Walter too, and if I have one out at home, that’s the one I’ll choose for myself.
I’ve been trimming, signing, and numbering the final prints for the show. I have a first batch of everything even if I haven’t printed the whole number of ones allowed. And I’m starting the long framing process. I’ve never done 21 for a show before, and I’m having to be way more organized than if I’m only doing a few. It would be easy to get confused and cut too many of one board size and not enough of another. So I’ve made myself a checklist. The categories are having the finished print signed and ready (almost all there), having the mat board cut (today’s project, and mostly there), the prints mounted on the mat board, having the Foam core backing cut, having the glass and frame assembled together (held together with a glued in spacer), and having the final framing finished for each piece. It’s going to be a marathon, and my intention is to chip away at it methodically while still holding some time for me to do creative work as well. I don’t turn the show in till late February, so hopefully that will go well. Next I have to clean out some storage racks to hold safely the pieces I’ve framed, because I have an occasionally hyper golden retriever teenager in the house, so my usual method of lining them all up leaning against cabinets in my butler’s pantry is out.
I have been mostly down a rabbit hole all week working on the museum catalog for my show at WAMA, but I did take breaks to go to the park (a dog is excellent for reminding you), and I took my sketchbook over several times as well when the sun was out. It's good to sit outside and sketch in the middle of winter when the weather allows. I've been using the Inktense pencils again lately and really enjoying the texture. The skies are all pure paint.
I picked up frames and the first round of glass. I'm going to frame along the way and try to do it in stages, letting me do a little creative work as I go too. It's good to keep the juices flowing. If I spend several weeks doing only show prep, I really miss drawing or painting by the time I'm done. I'm starting a little earlier and trying to pace myself. The last minute catalog was an unexpected time drain, but I'm really excited about how it's coming out, and I'll love having one to mark this show.
I’ve been working on the show this past week instead of making a lot of art from scratch (getting final copies of prints, putting together a catalog, gathering framing supplies), but I took a day off yesterday. It was chilly in the morning, so I cooked up a farmers market stew for the week, but the sun came out after lunch. I decided to head to the park and enjoy the nice weather. I took my Inktense pencils along with my paint set. I’ve been forgetting to use them lately, and it was fun to get them back out. I did one piece in the heart of the forest and another of the sky over the Greensward as I headed home. It felt so good to sit in the sun and sketch for a little while.
I also scanned in a couple of others from New Years Eve. It was another glorious day that day, so I took Gideon out to the farm and then had dinner on my screened in porch that evening. I had fun sketching both occasions to celebrate the end of one year and usher in a new one right.
I started the year out right, doing a tiny oil (8x10") of the morning sky at the Greensward on New Year's morning. And then I read and knitted and sat on the back porch. It was a lovely day. The warm weather (right up until ice started falling from the sky today) has made the holiday week especially nice. I've spent lots of time on the back porch, including a lovely new year's eve dinner.
Today has been the less fun part of being a freelance artist. Lately my emails to the people who have actively signed up wanting them have been getting caught in the junk folders of a lot of folks, including in my own gmail address. I send a test to see before sending the group. There are all kinds of words that can trigger a spam filter, but I'm super careful in my wording. I finally asked the fantastic #AmWriting facebook group (that's a great podcast by three writers who are living a creative life but also navigating all the business end of things that not many of us were trained for), and they said a free email can also flag that filter. So I spent the morning going through Weebly (my website), GoDaddy (my domain), Google (partnering with Weebly to offer an email address from my own domain), and MailChimp (to verify all this) and finally sent out an email that didn't snag in my own gmail account junk folder. Whew. I haven't felt like I needed a site specific email before, but now it seems I do. I will enjoy sending out emails more if they actually get to where they're going. It has felt recently like an exercise in frustration, unlike this blog which I really enjoy. So here's to a new year and sending out occasional fun emails that (may) actually make it through! If you're not on the list and would like to be, you can sign up for the studio updates right here:
Martha Kelly is an artist and illustrator who lives and works in Memphis, Tennessee.
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