I’ve never done a small test/sketch print before. I always do drawings first, but not prints. However, with the new larger size I’m working (at least part of the time), it suddenly makes more sense. That’s a huge time commitment, and I saw a printmaker I follow on IG do a test print and thought, yes! Also it’s a chance to print at several different places in the carving process and see what I think. So here is a small test print of a tree tunnel just outside of Auvers-sur-Oise, just up a small path from the cemetery where Vincent and Theo are buried together. I went two years ago and went back several days later to sketch it again. Both times I got distracted by color and texture and straightened the tree out more than I meant to. So when I went to do a print, I pulled out my reference photos along with the sketch. The sketch captures what grabbed me about the scene, the photo helped me get the shape truer to what it is. Here are the sketch plus my more careful drawing for the print.

I almost never do reduction prints because once you cut away, you can’t put it back again. And I have trouble planning in my head several layers without being able to see them put together and then adjust them. So I usually do several blocks. But for this small test print (and a simple, two part image), I printed the green at two different stages first and then cut away more for the black to go on top, printing the solo black somewhere between those two stages. I still cut away more of the green than I think was good. I’ll go back in with markers or paint and play on top of these proofs before doing the bigger one. But I think it may be possible, with that level of preparation, to do a simple reduction instead of doing two separate blocks. That would definitely be less carving and also less expensive, buying one larger block instead of two.

Here is what the two different base layers of green looked like before I printed on top of them. I wish I’d left the green a little higher along the horizon line. That’s one thing I’d like to play with and likely change in a larger version.

I’ve been working on my first large block (18x24”) for the new press, and it’s been going incredibly slowly. I’ve also been a little under the weather, so sketching has been sparse lately, but here are a few. They postponed baseball today, so I took to the forest with Mr. Darcy to draw. Always a good option, no matter what is going on, and I needed to clear my head.

A couple of nights ago I got super tired of my own cooking, and I headed to Huey’s. It’s One Week, 100 People on Instagram, and I’m home by myself too much to make any headway, but I did go do a token couple of pages. I got in 12 on this page and another few close up sketches in another book, but I won’t be getting close at all this year.

This last one is older — a couple of weeks ago. It was a gorgeous day, and I took my bike out the green line and had lunch at the park at the edge of town. There’s a bench by a small lake that always has ducks (and occasionally buffalo hanging around behind a fence too...don’t ask), and it’s my favorite long bike ride destination. The flowering trees are going like crazy right now, which always makes me happy.

I’ve finally got a full proof of the Shearwater Diptych hanging in my work room. After several weeks it feels great to see it together, even if I’m still working on cleaning it up and considering a few smaller foreground additions. In the evenings I’ve continued to do some sketches of Mr. Darcy, so here are a couple of recent ones. I’m considering one or two for prints, so watch this space. Sometimes it’s nice to have a smaller print or two in progress to switch to when the big ones get a little overwhelming.

I was living my best life yesterday, which felt lovely. It was a glorious, warm day in the middle of a rainy winter, and I decided to enjoy it to the full. I worked on the print I’m excited about in the morning (see the bottom photo for a close up — I mostly finished the sky), had lunch, and then went out to enjoy the day. Mr. Darcy and I walked first. I packed my small backpack with sketching gear, so we hung out, painted this glorious curved tree that I walk past daily, and chatted to neighbors as they too got out to bask in the 65 degree weather.

After that I got back on my bike, which has been neglected the last couple of weeks. I did some loops around midtown, enjoying our neighborhoods and looking at the houses, and I stopped at Burke’s Books, Memphis’s 140 year old independent bookstore. Beautifully I happened on a $6 biography of Berthe Morisot. I just ordered a frame my poster from her solo show at the Orsay this past summer, so it was a perfect time to revisit my newest art hero. I looped back through the park for the sheer pleasure of the forest and logged right at 11 miles total. I only learned how to ride a bike this summer, and it has greatly increased my joy. I feel like a kid swooping around. It’s kind of nice to have some pleasures that are delayed to discover along the way.

In the evening I met friends for dinner and a concert by the New Orleans Dirty Dozen Brass Band. So much fun. I’m really grateful for this life I get to live.

I came home from Ocean Springs with three new print ideas in my head. (We’ll see how many look good once they’re actually drawn out on paper.) This was the first I dived into, from my morning quick study looking across from the marina to the Shearwater family complex. I’ve got both blocks drawn and transferred and am in the second (partial) day of carving the left hand one. It’s still going to be a hot minute before I have anything to proof. This is moving pretty slowly, but I’m trying to be really thoughtful and get it right.

I’ve had a lot of midlife sleep troubles lately, along with a ton of other women, and it’s made it hard to bound out of bed ready to work (at least, after tea) the way I am used to doing. I’ve been working hard to get more sleep — limiting evening screen time, drinking milk with dinner instead of wine, stopping caffeine after 10am, etc. January usually helps anyway, which is a blessed relief after show and holiday stress and generally bad sleep for a while. I’ve gotten myself on track the last couple of weeks, and it’s felt good. This morning I’m having a great day, and I want to write about it and remind myself to at least shoot for this more often.

Instead of lying in bed too long looking at instagram (I do love to scroll through artists I follow and get ideas for new things to try), I got up quite early. It was still firmly dark, so my kitchen, which is very cheerful in the sunlight, was more dreary. I decided to have breakfast instead by the gas log fire, which was a cosy, warm, and happy way to start the morning. You can just see Mr. Darcy next to my chair in the semi dark.

The dawn was gorgeous as I went out to get my paper, and my iPhone couldn’t capture the colors. I decided to do a quick sketch to start the morning. I’ve been concentrating on prints lately and not sketching much, so this was a very happy way to start the day. I’m going to try to remember to build more sketching in, even when I’m doing good work already. And I was still at my table and working on my print at 7:15 to enjoy the morning light. I got the last tweaks (I think) done on my current print, proofed it, and submitted it to a place where I’m dreaming of having a show. A very good morning indeed. Now off to some different work.

It's been a little crazy around here. I'm working on a series of prints, helping my sister plan her wedding, and trying to get some long needed things done around my house. (I'd ALWAYS rather make art than do house repairs/chores.) So I'm behind on scanning in sketches and getting them up here. Here are three from over the holiday season, done while running around with friends and family, plus, of course, sitting with Mr. Darcy in the evening. I'll try to get some more sketches ready to go soon. I've done some that I really enjoyed recently, but I'm not going to let the perfect be the enemy of the good today. Here's what I can manage, and I won't save them until later for more...

I've been painting like crazy since I got home, and I don't tend to push myself to sketch if I'm making art exhaustively in another direction, but I did finally get my sketchbook back out Sunday, and it felt good. I had biked to church and found myself with extra time, since I usually walk instead. I wanted to do a quick sketch of the chapel with the paraments I had sewn a few years ago. It turned into a muddy mess, though. So after church I cycled over to the park to spend a little time before meeting friends for brunch, and I decided to add trees. Trees make everything better. It was fun to sit on the other side of the park than I usually do -- faster to get there on my bicycle.

Then I continued on to Overton Square for jazz brunch at Lafayette's. All three of Di Anne Price's "boyfriends" now play with a guitarist there every Sunday. I so miss Di Anne on piano and singing her songs, but it's good to still have Sunday music with the guys.

I feel like I’ve been neglecting my sketchbook this trip, since I’m working both on the still life show and also on a possible graphic essay about Paris that’s in a bigger watercolor book. So I’ve been trying to lock back in a little lately and do some sketches just for me. It always feels good to come home with a visual record of at least the lovely bits of a trip that I don’t want to forget. In that vein, I sketched at the Rodin Museum where I met my friend Mavis yesterday. It’s one of my favorite places in Paris, but I hadn’t made it there yet this year. We had a lovely catch up, sketched, had tea, and then I stayed a bit after and did more sketching. It’s hard for me to walk out of there having done only one. I’m saving the graphic essay images for later, but here are a couple I did in my journal.

I also went back for my favorite curry at Kapunka, got a sidewalk table a second time, and did another sketch.

Good memories in Paris seem to be a lot about eating. Here’s the galette stand at the Bastille Market.