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.
Martha Kelly is an artist and illustrator who lives and works in Memphis, Tennessee.
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