Blood Dreams

Blood Dreams, Monoprint; 13" X 18"

Place your fingers to your lover's wrist or against your own neck and feel the pulse against your skin and know that in this moment, at least, you are alive.

This is another old work--one of my first forays into monoprints from 1997 in Santa Fe at an intensive 5-day monoprint workshop. I was really happy with this print but the really nice one--a beautiful blood-dark maroon ground--(this was the reworked ghost print) vanished out of the drying racks on the last day--so my first "collector" remains unknown.

I hope to revisit this with woodblock soon. I'd like to change the size and composition a bit and am curious to see how it would turn out in Moku Hanga.

Man of War

I pulled several copies of the aluminum drypoint plate I made yesterday. I used a pthalo blue etching ink (Akua) and have been trying different wiping techniques/materials.

The prints are getting better but they are still printed pretty badly--too much ink here and there and too little in other places. My best luck was with a stiff tarlatan--that's what they're used for after all-- but I'll try to find someone who can show me how to wipe and if my ink is too stiff/loose. I'm still hoping to make a go with these water-soluble inks as clean up is really easy and there are no solvents to deal with.
I wiped ink on with a piece of matboard/scraped it off and then lightly buffed the plate with a big ball of tarlatan cloth slowly wiping off the ink. Then I went in with a bit of rolled/pointed newsprint to pull out some highlights and lastly wiped lightly with the side of my hand.





The last three I printed over an initial printing of a solid color using a piece of plexiglass plate.
I rolled color onto the plexiglass plate corresponding to where the aluminum plate would go later--lifted out the jellyfish body and some of the tenticles/stingers with a Q-tip and printed that first--one dark, the second ghost was lighter. Then, inking the plate each time, I printed the etching plate on top of the already tinted paper.


The last one is a true monoprint--I painted in my usual badly chosen colors on the plexiplate; blue for sky/blue for water, purple jelly, multicolor tenticles. It's loose and kind of interesting and would have worked if I had chosen colors more carefully; the green in particular was rather ill-advised.



I'll tip in watercolor in one of the poorly printed drypoints and see what that looks like.

P.S. If you get stung by one of these--hot water works best at neutralizing the stinging cells once you peel off the sticky stinging strings as best you can. They really hurt and can scar.

Music and Noise

Music and Noise
collagraph monoprint with watercolor. 7.5" X 10"

I'm still playing around. Procrastinating really. I'm trying to get going on another woodblock print. I have a nice long plank of Red Birch, lovely grain, 6' x 8" that I've cut down into a few 15" lengths and have started sanding and planing them down. Thinking about what to do next.

There are some things I've wanted to try: a reduction print, a bold black and white image, a white-line print and a few nude/figurative pieces I have preliminary sketches for but haven't committed to.

So when I'm this waffly (is that a word? an adjective?) I usually doodle and from the noise and the clutter sometimes comes just more mess and chaos but sometimes, if not order, at least some good ideas.

This started as a kid's exercise on a rainy day. We all cut out some card stock and made collagraph plates using old 5" x 7" mat boards and glue and scissors.
This was my version from the first test printing. Each one of these shapes was cut out of an old file folder using a pair of scissors and glued down onto the matboard and then coated with wood glue to seal it before printing.
It was overwiped, too pale but well-embossed from being run through the press so this one has watercolor pigment painted on.

I think it's a cochlea. The snail like thing in our heads that is involved with hearing and balance. THIS one seems to be spewing out and rejecting all sounds.
Or is it all going in? I can't tell.

Jajim-trials: Adding Blues

Well, remind me next time I experiment to do it on a smaller scale. These are 1/2 sheets of Rives BFK printmaking paper so they're 20" X 15" and I need to fill the sink in the kitchen to soak them and just moving them about is a bit of a project and I'd have got lots more trials done if I was just working on a 5 X 7" plate instead.
I'd like to test in a little more controlled manner the differences of wet paint vs. dry paint; damper paper vs less; more or less pressure, etc.

I am using Akua color brand water soluble colors again. This time the monotype colors which are quite syrupy--I think there is both honey and soy oil in the mix?

I decided not to roll out the color but just brush it on to the surface of my original plexiglass plate--I added some retarder to keep it from drying too fast and I deliberately brushed out each vertical stripe separately, remixing the colors each time for each stripe. I think my color was still a bit too thick and beaded a bit to the edges and I had a slight slip when I dropped the plexiglass on the damp paper--I tried to adjust it and you can see the results here where there is a big blue smear at the edge.



But I got that kind of rich, deep, multicolor blu I was hoping for.
I ran the leftover color on the second sheet of paper but it didn't really print so I repainted the plate again--this time adding a little cerulean blue to the border area before I ran it all through the press. I think the cerulean border is a bit too deep and I again had some edge issues--I can't keep the edges from bleeding a bit but I'll make them work with this print. Mostly there is an area of the third blue strip that didn't print at the bottom that is bothering my eye and I'll have to get some blue in there and deepen a bit the saturation of all the dark blue stripes.

I work tomorrow but maybe Friday I'll have another go. I'd like to add a hazy rose halo around the blue border of the carpet of the second trial and I need to deal with the blue smear on the first by trying to print around the edges with a different value and color to see if I can save it. The end edges were meant to be black and white but with all the smearing I'll probably go back in at the end with a brush and some opaque gouache.

Mono workshop day 1.

I have been hoping to get back into the classroom for a while and trying to mesh my erratic work schedule ( I work different shifts every week) with a class schedule has been hard. But I found out about a monotype workshop held at the KALA art istitute in Berkeley,CA in time to ask for the two Saturday's off that the class was held.
So I managed to work into the wee hours Friday night, wake up really early Saturday morning, drive the 1 1/2 hrs to Berkeley and found the place easily enough. It's a grand old three story brick factory and the whole upper floor has been converted to a printmaking atelier with facilities for screenprinting, letterpress, etching, monoprints etc. This is a short class focusing on monoprinting with Akua color nontoxic pigments and I'm hoping it will help me avoid the errors I made on my first attempts with the blue press. I had a great time, even if I managed to ink the wrong side of my transparent plexiglass plate a few times!! but otherwise had everything under control. It's a fun technique, allowing much spontaneity and for some fun (and not so fun surprises).
We worked on learning how to get even coats of color from this honey-based, water based color and how to do chine colle' and a little bit about viscosity printing and resists.
Here's a print of the work table with everybody's efforts at the end of the first day and a quick shot of my first efforts. I like my ghost prints the best. Whispers of color and nuanced effects that are much more delicate and evocative than my more heavy handed full-color efforts.

Poppies

POPPY, detail, monotype print 10" X 12" (ghost)






I finally decided it was time to stop putting it off and break in Big Blue--my 30 year-old, homemade etching press. I have over the last few weeks picked up a couple of plexiglass sheets from the hardware store; some sample bottles of Akua Color monoprint/water-based inks/one inexpensive brayer and dug around my cupboards for some stray printmaking papers.

I have lots of flowers blooming in the garden beds so a quick sketch on a sheet of paper and I covered the drawing with the sheet of plexiglass and using mostly brushes, painted the colors on the plate. It happened in stages: first the red petals; then the black flag of the center and some of the green buds/seedpods/then back in again with more color here or there, finishing with tracing my drawing in black ink with a brush on the plate.

I ran the plate each time face up on the bed of the press, laying down the paper on top; covering it with blankets and running it through the rollers. I had three sheets. Rives BFK Dry; Rives LW dry; rives LW damp. The last two sheets are ghost prints--printed after most of the ink was taken up by the first sheet.

Akua color is supposed to work better on dry paper but I got uneven coverage and very splotchy color instead. My best print is the third run on damp paper. The colors are too soft and faded--this should be a vermillion poppy that should stand out from 100yds instead of being so soft/muted. I will probably have to play with papers and pressure/blankets to get the right pressure.






I wanted a painterly approach. But I'd have ended up with something more lively and with more vibrant color if I had just stuck to watercolor and painted it. It will take me a while to get a hang of these new colors--they're honey-like in consistency--and didn't like to be brushed onto plexi.

Top to bottom: 1st Impression (dry paper); ghost print on damp paper;ghost print on dry paper.

So while I'm not really happy with how these turned out (I'll probably overpaint them in watercolor to see if I can salvage anything) but I'm really happy to have used the press, broken the ice and gotten some studio time in.