- Published on
Here is. The carving process. The top right is the earliest, with just the moon and stars cut out to print the sky. Once I had the skies printed, I could carve down to the tree. Before putting the tree on the good backgrounds, I proofed it a few times on newsprint to make sure it looked like I wanted it to, carved a little, proofed it again, etc. Finally when I had it ready, I went ahead and printed on the sky backgrounds.
I finished a new print for my letterpress. I haven’t done too many prints on it, mostly note cards, since it doesn’t do big images well. It was made for type, and my blocks have a huge amount more dark space and much less white, which means it’s hard to get enough pressure across a full dark surface to print it evenly. I had mostly given up for several years after getting it, but it occurred to me fairly recently that it would be a lot easier to print smaller blocks on the treadle press instead of inking each by hand and carrying the plate and paper together to the proof press. So I started thinking of designs where the foibles of the bigger press would be an asset.
I’ve been thinking about nocturnes a lot lately, and it occurred to me that a dark tree against a dark sky would work better (be more visible) if the sky were not fully dark. The mottled printing texture would be great. I also have wanted to try a reduction print. Usually I do separate blocks for each color in a multi color print, but I thought if I’m locking a block into the metal chase to put it in the press, that would hold it steady and secure if I could leave it in there to print, so my blocks wouldn’t have trouble lining up.
For a reduction, you carve a bit, and then print, and then carve more before printing the second color. The upside is the block stays steady. The downside is that you can’t proof it with both colors and then adjust. You’ve already committed and printed the first color and gone past the point of no return.
I’ve been thinking about nocturnes a lot lately, and it occurred to me that a dark tree against a dark sky would work better (be more visible) if the sky were not fully dark. The mottled printing texture would be great. I also have wanted to try a reduction print. Usually I do separate blocks for each color in a multi color print, but I thought if I’m locking a block into the metal chase to put it in the press, that would hold it steady and secure if I could leave it in there to print, so my blocks wouldn’t have trouble lining up.
For a reduction, you carve a bit, and then print, and then carve more before printing the second color. The upside is the block stays steady. The downside is that you can’t proof it with both colors and then adjust. You’ve already committed and printed the first color and gone past the point of no return.
Even with the block in a steady place, I still lost some prints when the paper moved on me. I ended up with an edition of 28 on 9x11” paper. It was a good learning process for me, but I still think I prefer doing separate blocks so I can color test ahead of time and get the colors just right.
- Published on
I was unexpectedly off the grid last week, so here are a few sketches I haven't yet posted from a sunny day out in the country with my dad and our dogs. I loved walking around the farm with him and letting the dogs romp, but I also got some sketching in. I went out specifically to draw a tree called the Hawk Tree (hawks nest there) for a new print, but I did a couple of others as well. After all the traveling and holiday shows, it felt good to get back to just sketching again.
- Published on
I woke up the other day with trees calling me. I think it was a holdover from the Wyeth exhibition. His visual vocabulary was so rooted in the places he loved, and for me, aside from Memphis and its environs, it has always been about the trees. It was a drippy day, as you can see on a couple of the sketches, but not truly raining, so I headed to Rockport State Park and did the longer trail with my sketchbook easily reachable in my rain jacket pocket. I've been doing a lot of indoor painting lately as I finish up the Mr. Darcy book, and it felt marvelous to get out and draw from life again.
- Published on
There's a lovely article in the Presbyterian Mission about the upcoming Book of Common Worship that I spent a lot of last year doing illustrations for. It's coming out in May in three different editions, all with my Tree of Life linocut stamped into the cover. I am beyond excited and can't wait to hold it in my hands. I'm going to have to get the smaller personal prayer edition as well as the desktop one. The third is for pastoral use during hospital visits, weddings, etc. -- also smaller to carry around.
- Published on
I went to see this exhibition at the Seattle Art Museum yesterday, and it was a beautifully done show. Well arranged and documented with a spread of works across Wyeth's career. I learned more about him, which made me want to know even more. I had loved the Helga exhibition years ago but hadn't seen much more of his work in person. It truly repays up-close examination, with the minuteness of his brushstrokes. The thing that truly struck me was the radical nature of some of his compositions and viewpoints. It's easy, in this age of minimalizing realism, to discount Wyeth as the safe art of dorm room posters. That would be a mistake. Many of the strongest pieces had truly unexpected and dramatic viewpoints or compositions, the kind that make you reconsider how you see the world.
Below is one of those. I loved the almost absence of sky with the strong abstract nature of the land and the water it held. The layers of darkness and detail in this piece are far greater than I could capture with a brush pen standing up in a crowd and balancing sketchbook and watercolor kit in my left hand. But I wanted to spend a little time with it and look more deeply, and sketching a painting helps me do that.
The piece I was most gobsmacked by was the top one here of the home with drifting feathers. It struck me as Wyeth's version of Redon's drifting flowers or Chagall's pair of lovers in the sky. Mysticism within the artist's own recognizable language. I've been drawn to the surrealists the last couple of years, but without much idea how to make that work within my own vocabulary. This piece really stayed with me, and I hope it will help me see a new way to do this in my own work.
Below is one of those. I loved the almost absence of sky with the strong abstract nature of the land and the water it held. The layers of darkness and detail in this piece are far greater than I could capture with a brush pen standing up in a crowd and balancing sketchbook and watercolor kit in my left hand. But I wanted to spend a little time with it and look more deeply, and sketching a painting helps me do that.
The piece I was most gobsmacked by was the top one here of the home with drifting feathers. It struck me as Wyeth's version of Redon's drifting flowers or Chagall's pair of lovers in the sky. Mysticism within the artist's own recognizable language. I've been drawn to the surrealists the last couple of years, but without much idea how to make that work within my own vocabulary. This piece really stayed with me, and I hope it will help me see a new way to do this in my own work.
The show was a mixed bag for me. The best were transporting, with the exquisiteness of texture and detail adding to the subject. Some, however, I found to be lifeless, drained by the too painstaking style. The watercolors, with a bit more freedom, were more successful to my eye than the tempera ones (to make a broad generalization). There were several early and loose watercolors in the show that took my breath away. I loved his color and style, and they reminded me of the looseness and lushness of Sargent's watercolors. Apparently Wyeth, in spite of a huge success with them in New York, found them to be insufficiently challenging to make a career of, and he moved to the much more detailed style instead. That grieved me a bit, but it was also heartening to see a realist making a successful career in the midst of an abstract age.
Landscape painting gets little respect these days, and while he painting many people as well, I loved seeing how he took his home landscape, unremarkable by the standards of dramatic landscape beauty that seems so common in art, and translated his love of his place and his vision of the earth to others. It was encouraging to see him make such a respected career out of the bones of his home spaces. Coming as I do from a visually unremarkable but much loved place of my own, I always hope to be able to translate that beauty for others to see and appreciate.
His wife Betsy helped tremendously on the marketing and selling side of things. Any artist would be lucky to have such a helpmate, since business sense and creativity are not necessarily paired talents, but it was still encouraging to see him be able to be so successful on his own terms.
Landscape painting gets little respect these days, and while he painting many people as well, I loved seeing how he took his home landscape, unremarkable by the standards of dramatic landscape beauty that seems so common in art, and translated his love of his place and his vision of the earth to others. It was encouraging to see him make such a respected career out of the bones of his home spaces. Coming as I do from a visually unremarkable but much loved place of my own, I always hope to be able to translate that beauty for others to see and appreciate.
His wife Betsy helped tremendously on the marketing and selling side of things. Any artist would be lucky to have such a helpmate, since business sense and creativity are not necessarily paired talents, but it was still encouraging to see him be able to be so successful on his own terms.
The photo by Jude Dippold is of me looking at Wyeth's last painting. He painted almost up to the end, which was also a tremendously inspiring thing to see.
- Published on
The beautiful thing about having my main show up (and please go see it at Eclectic Eye until January 2nd if you’re in Memphis!) is that I’m now free to experiment a bit and see what new things I can try since the pressure of producing exhibitionable art on a deadline is past. Which is not to say I don’t love painting with a purpose and creating a body of work for a show. But I love do also love the freedom of vacation painting.
I’m back in Washington, as you may be able to tell from the scenery. It’s been a quiet start to vacation as I continue to soldier through a cold, but I’ve gotten to sit under a blanket and read a lot. I’m in the middle of a book on Georgia O’Keefe and Alfred Stieglitz, and it’s made me go look up her early watercolor work from the teens, which is stunning. I also looked a bit at John Marin’s watercolors. Both are free and impressionistic and do not involve the use of line. I have a couple of friends who have recently been painting first in watercolor and adding lines only later, if at all. I’ve never painted this way with watercolors, and even in my oils, I lay out the basic composition in chalk before diving in.
I’m back in Washington, as you may be able to tell from the scenery. It’s been a quiet start to vacation as I continue to soldier through a cold, but I’ve gotten to sit under a blanket and read a lot. I’m in the middle of a book on Georgia O’Keefe and Alfred Stieglitz, and it’s made me go look up her early watercolor work from the teens, which is stunning. I also looked a bit at John Marin’s watercolors. Both are free and impressionistic and do not involve the use of line. I have a couple of friends who have recently been painting first in watercolor and adding lines only later, if at all. I’ve never painted this way with watercolors, and even in my oils, I lay out the basic composition in chalk before diving in.
I've been trying to relax in my life lately and be a little bit less of a workaholic. I also think it's good for me to go through periods where I work quickly and loosely. Printmaking is so exacting that I can carry that tightnessback into my painting as well. I find that there’s a sweet spot at the center of the spectrum between too tight and being too sloppy, and what I tend to do is swing back and forth across that line, over correcting one way or the other in almost every piece. It’s the classic Goldilocks search for “just right.”
When I started watercolors, I was afraid of doing “little old lady” watercolors, and I felt that the presence of a strong line made them more sketchy and vibrant and energetic, as well as giving them a different feel from the old fashioned, very precise watercolors. I have mostly stayed with that style, though my lines have often gone from black pen to lighter inks to pencil. But O’Keefe’s simple and vibrant watercolors use no lines at all and simply sing. So after looking up that work of hers, I decided to try a few of my own. I can’t ever get as ascetic and spare and reduced as her gorgeous work. I’m simply too much of a detail painter. But it’s been freeing to use to lines and all and just play with paint. Here are the first four. It’s raining today, as it has been for most of my visit, this being Washington in the late fall. So I’m working from some photos I took on the one beautiful day I got to go out and take a gentle walk (while still fighting a cold). Perhaps if the weather breaks again and I feel better, I can do some on site painting as well.
When I started watercolors, I was afraid of doing “little old lady” watercolors, and I felt that the presence of a strong line made them more sketchy and vibrant and energetic, as well as giving them a different feel from the old fashioned, very precise watercolors. I have mostly stayed with that style, though my lines have often gone from black pen to lighter inks to pencil. But O’Keefe’s simple and vibrant watercolors use no lines at all and simply sing. So after looking up that work of hers, I decided to try a few of my own. I can’t ever get as ascetic and spare and reduced as her gorgeous work. I’m simply too much of a detail painter. But it’s been freeing to use to lines and all and just play with paint. Here are the first four. It’s raining today, as it has been for most of my visit, this being Washington in the late fall. So I’m working from some photos I took on the one beautiful day I got to go out and take a gentle walk (while still fighting a cold). Perhaps if the weather breaks again and I feel better, I can do some on site painting as well.
- Published on
I'm still working with gouache and trying to get the hang of it (and also figure out which brushes are going to work best for me). I went to my very favorite spot this afternoon. It's technically a boat ramp, but its basically a small beach, a mix of stone and sand, where two small rivers converge. It's glorious. Mr. Darcy and I hung out and celebrated (FINALLY) the end of my book project. It was amazing to have a Monday where the only thing due was my invoice. It felt marvelous. I've been celebrating with farm stand ice cream, modest sleeps in, and a bit more gouache painting.
The one above and to the side are what I did this afternoon. I also went out in a lovely evening yesterday and painted a scene I've been wanting to do all spring. Never paint your crushes. I couldn't get what I had been hoping to, but I also got a number of photos to supplement the study and will probably do an oil of this one when I get home. I'm still learning, and truthfully I've only done a dozen or so gouache studies, so I know they will get better. I'm looking forward to trying this more painterly style in Paris next month. I've done watercolors there for three years, and I'm looking forward to trying something different.
The one above and to the side are what I did this afternoon. I also went out in a lovely evening yesterday and painted a scene I've been wanting to do all spring. Never paint your crushes. I couldn't get what I had been hoping to, but I also got a number of photos to supplement the study and will probably do an oil of this one when I get home. I'm still learning, and truthfully I've only done a dozen or so gouache studies, so I know they will get better. I'm looking forward to trying this more painterly style in Paris next month. I've done watercolors there for three years, and I'm looking forward to trying something different.
- Published on
I recently saw a couple of exquisite gouache studies posted by someone on the Urban Sketchers site, and I loved them. I have continually struggled in watercolor to depict skies and clouds the way I would like to. Gouache is opaque, and a little bit more like oils, but portable and water based like watercolors. I'm still getting used to it, and the only green I have is quite vivid, but I think this could become a new love for me. Above is my first effort a few days ago, and then I went out early this morning to paint clouds. Now that I have gouache, apparently the clouds disappear for summer here in Washington (as they largely do at home as well), but they made a reappearance this morning, and I was grateful. I definitely need more practice, but here are my early results.
I think this is going to be fun, with (of course) a bit of frustration mixed in until I figure things out better. But I loved doing sky studies through the huge window where I stay in Paris last year, and now I can't wait to get back with my gouache.
- Published on
There's a sweet little mixed sand and stone beach at a boat ramp just at the junction of two rivers that has become my favorite place out here. It's got gorgeous trees with ferns and exposed roots hanging over the beach, so you can lean against a cedar trunk and still have your bare feet in the sand. The music of the water is gorgeous, and the views in both directions are flat out lovely. I have so enjoyed going there to picnic, sketch, and simply breathe deeply and enjoy the place. I took advantage of a recent sunny day and did just that. I sketched looking away from the beach, so this isn't a normal beach scene, but it's a part of what keeps drawing me back to that place.
- Published on
As well as Rockport, my early love of a park here in Washington, I've been taking walks at Rasar State Park. It's about 8 miles in the other direction from Rockport, so both are quite easy for daily walks. Rasar has more changeable scenery and is flatter, which lets me do my brisk powerwalking without as much danger of turning an ankle.
The topography goes from wooded trails to river beach to mountain meadow, all of which are lovely. I stopped and sketched along my walk the other day, and I will definitely go back to paint further as the weather allows.
The topography goes from wooded trails to river beach to mountain meadow, all of which are lovely. I stopped and sketched along my walk the other day, and I will definitely go back to paint further as the weather allows.
