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I've gotten a little bogged down in my current three block print, so it was fun to do this small fast one over the last couple of days. I'm still working on laying out that book of my Dad's poems, and there was one lone poem near the middle, bracketed by two really good pairs before and after, and instead of disrupting one of the pairs, I decided to just do a small illustration. We're keeping the book of history poems in chronological order, so I couldn't just shuffle things around too much. This is Glastonbury Abbey, which I've visited twice over the years, and it will accompany a poem about the dissolution of the monasteries. I'm really happy with how it turned out, which feels especially nice as I struggle with the other print.
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I printed and scanned in a batch of my antique letterpress ornaments this week. I'm working on a book of my dad's British and Irish history poems. He started writing them in the 80's, and it's much easier to publish something like that now than it was then. I want to be able to put the book in his hands. I'm considering using a few of these to fill in some empty spaces.
I've always kept printing for real, tactile projects and done my illustration work in watercolor and sketching. It has more recently occurred to me that I could use scanned in type or ornaments in certain projects as well. That Celtic alphabet I have that has almost all the letters, but only one of each, is barely usable as is for anything printed, but it's much more flexible digitally. Mostly I like making my own art, but the style and antique qualities of these might suit the current project. We'll see. It's fun to play, anyway, and now I'll have them ready if anything comes up to use them. I printed them in a reddish purple (my black letterpress ink has dried up at the bottom of its antique can), so I converted them to black and white after also saving the reddish version. Options.
I've always kept printing for real, tactile projects and done my illustration work in watercolor and sketching. It has more recently occurred to me that I could use scanned in type or ornaments in certain projects as well. That Celtic alphabet I have that has almost all the letters, but only one of each, is barely usable as is for anything printed, but it's much more flexible digitally. Mostly I like making my own art, but the style and antique qualities of these might suit the current project. We'll see. It's fun to play, anyway, and now I'll have them ready if anything comes up to use them. I printed them in a reddish purple (my black letterpress ink has dried up at the bottom of its antique can), so I converted them to black and white after also saving the reddish version. Options.
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I'm working on a companion piece to my first snow tree, but it's really slow carving with all those tiny branches. I can work on it for a couple of hours in the morning when the light is best on my print table and I'm fresh. Then I do some other work later in the day. I won't be able to proof it for several more days yet, but I'm looking forward to seeing how it turns out. I'm drawing out a spring tree print with leaves on all those branches, which won't be fast (I mean, what carving is?), but which should move at a much better pace than this current one.
You can also see my muse watching me hopefully and waiting for a trip to the dog park.
You can also see my muse watching me hopefully and waiting for a trip to the dog park.
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I've been carving this one for weeks. With lots of interruptions, but it's still the most painstaking, intricate print I've worked on since the seagull murmuration for my show at the Walter Anderson Museum of Art. Fortunately for me, this one is 9x12" instead of 18x24". I've enjoying having something to dive into for an hour at a time while I juggle a ton of other responsibilities this month, and I finally have gotten it to the place where I could pull a print and see what it looks like. I had to get the entire carving roughed in so I wouldn't lose the delicate drawing on the block into a big smear of ink. I'm cleaning up and thinning out very slowly so I don't overshoot, so there's not any dramatic difference to see the biggest clean up will show in the path, but I'm still working on that bit.
This is from a photo I took during Memphis's unusual, actual snow this past winter. Usually we're right on the ice line, but for once we got a fluffy, photogenic kind of snow. This must be the fourth print I've done of my favorite tree over the years, alongside who knows how many sketches, and I just couldn't resist her beauty all dressed up for winter. I should be done in a few more proofs with smaller and smaller changes as I go along. Soon...
This is from a photo I took during Memphis's unusual, actual snow this past winter. Usually we're right on the ice line, but for once we got a fluffy, photogenic kind of snow. This must be the fourth print I've done of my favorite tree over the years, alongside who knows how many sketches, and I just couldn't resist her beauty all dressed up for winter. I should be done in a few more proofs with smaller and smaller changes as I go along. Soon...
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We had a very short lived morning at the Pink Palace Crafts Fair today. About 10 people showed up to tour it. I hadn’t finished my tea before they wisely called in for the day. But it won’t be raining tomorrow, so we’ll be there Saturday/Sunday. Memphis, dig out your favorite Music Fest mud boots and come see us!
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I have always loved those golden age British mysteries with a map at the front. Probably because my dad collects maps and often hand drew ones for us to follow along with from the back seat on family vacations. Since all the trees in the exhibition at Rowan Oak are actually on the grounds of Faulkner’s home, I thought it would be fun to give people the opportunity for a self guided scavenger hunt to compare the prints with the originals.
There are no prizes, but if there were, there would definitely be extra credit for Portrait III, which is by far the trickiest to spot.
There are no prizes, but if there were, there would definitely be extra credit for Portrait III, which is by far the trickiest to spot.
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Every show I do I get a last minute wild hare to do some extra project to go with it. For WAMA it was doing an entire show catalog called Hints of Gladness. This time, with the show hanging on Monday, it was a much more manageable project. I had kept the artist statement quite brief, and I decided to typeset it and print a small edition of handmade ones. Most of the fonts I have are limited in the numbers of letters, but this Parsons 30 point set had JUST enough letters and was a lovely size to show up in a frame and hold its own space. It has the added delight of the fancy, super high ascenders (the "ls" and "hs" that reach up well above normal height), so I used them for the first line before going back to the normal set for the rest of the paragraph. It was a satisfying one day project, and this morning
I will get it in a frame and have it ready to hang with the rest of the show on Monday. I've also carved and printed a small gallery card for folks coming through the museum to pick up and have my information available. This is one of the handful that print two tone when I add a second color once the first is established. I love the variegated effect. I usually get three or four of these before the inks blend to a solid color again, so most of the cards will be a little less wild, but I always love these the best.
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My main work lately has been my upcoming Faulkner's Trees exhibition. I'm trying to get final prints of everything, get started on the framing, and finish carving the last two prints. I'm working slowly with my fatigue making an unwelcome return, but I'm chipping steadily away at it. We haven't set a hang date yet, and I'm grateful for Rowan Oak being flexible. It will go up some Monday in June so it's in time for the Faulkner scholarly conference that meets there in July. I'm so grateful to them for wanting my work for that.
So carving and printing every morning while I'm fresh. There has been lots of tea involved.
So carving and printing every morning while I'm fresh. There has been lots of tea involved.
I've got the first couple in frames already. It's nice not to leave all of that till last, since it's my least favorite part of the process.
This is the last piece I'm working on. It's three colors, and I'm carving on the last block now.
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I haven’t been sketching this week, and I’m missing it, but I’ve been getting some good work done on a new print for my Rowan Oak show next year. This is an especially complex piece. I had a lot of colors I wanted to include, and I hate to carve and print more than three blocks per print. So laying it out got complex, and I’m mixing more than one color for each block, but I loved the sketch I did of this tree, and it’s worth the aggro. I’m doing a series of color proofs as I keep refining the carving as well. At top is the best one so far. The key block is usually all black for my prints, but that was too harsh in this case, so for the top layer I’ve added a brown tree trunk for the cedar and softened to more gray around the edges. You can see the all black version at the bottom of the three proofs together just below. On the middle one I went too grey away from the tree and lost definition on the building. this one I think is the closest to what I want, but I need to clean up some carving, especially in the tree and the building. I’ve also added a snapshot of the three blocks together. The orange green goes first, then the grey of the building, tree, and grass along with the green of the cedar. Finally the black of the tree, the cedar trunk, and the definition of the building go on top.
Here is the original sketch with the first layer of the print.
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The stone carving is done, and we're having a party at Elmwood this Sunday to celebrate my first public art ever. It's free and open to the public, and we'd love for everyone to come. If you know you can make it, Elmwood would love to get you in their headcount for food (you can sign up here), but all last minute comers are welcome for sure.
I did a set of 9x12" prints based on the columbaria designs, and you can see the trio below. I'll have those out there as well as a selection of my other prints, but mostly it's just a fun party with a fun band.
I did a set of 9x12" prints based on the columbaria designs, and you can see the trio below. I'll have those out there as well as a selection of my other prints, but mostly it's just a fun party with a fun band.
Here is what they look like in five foot granite. They came out even better than I had dreamed, and when does that happen??
