I’ve been slowly working on proofs of this piece, since you have to leave the first layer to dry overnight before adding the second one. It’s from a sketch I did a bit over a year ago in Ocean Springs, the trip where I got on their calendar for an exhibition. I want to have a number of my own home places in the show, since that’s what Anderson did, but I always love sketching down there and would like to have a few pieces where I interpret the landscape his work sprang from in my own voice. I hung out on the pier sketching a good bit, bundled up against the wind since it was January, but land-locked folks need to take advantage of the coastline when they manage to get there. I’d actually hoped to be able to be down there a good bit more while preparing for the show, but none of us saw COVID coming, so I’m still working on early 2020 sketches.
You can see the top print set against the first one I did, which was too dark, and the second one, which was too light. It’s been a bit of a Goldilocks situation working my way toward “just right.” I want to try this level of blue with just gray clouds. I’m of a divided mind about the pink. It’s fun to be able to try different versions before printing the final edition. I’m always impressed with the printmakers who do reduction prints, which means they lay down one color (usually the lightest), carve away more of the block, lay down the next one, keep carving, and repeat. I’d have had the blue layer too dark, and the whole print would have been wrong. I just can’t imagine it before seeing it on paper, so I tend to do a separate block for each color, and that gives me a lot of options. And sometimes it’s fun to play later with a completely different color scheme.
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Martha Kelly is an artist and illustrator who lives and works in Memphis, Tennessee.
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