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.

Stain 3

Well, work continues....

I printed 25 onto Nishinouchi, an off-white mulberry paper and the blue didn't print quite grey enough and I think my earlier proof on white paper came out better. I'll take a little pause. Let these dry and decide whether to add another color or pass on the tie to deepen the color or just print a second batch in a different color scheme on white paper. I pulled this out of the batch as I plan on gluing one down face up on a hardwood block, carving the tie again and polishing the other copies to make the tie shiny and silky looking.

They are a bit less yellow than this appears on my monitor.

Almost there

Well, while I didn't get into the studio as much as I'd have liked--I managed to get these proofs done today and I'm pretty happy. I carved all day Sunday. Trimmed paper and printed these color proofs today. There is still some tidying up to do. The thin tie stripes need to be cut back a bit at the bottom to match the color tie block but we are almost there.
There will still be some surprise. It would be too boring for me to know exactly where this will end up--I'll be printing on Nishinouchi, an warm, off-white, slightly newsprinty paper that will change the colors somewhat. And I won't really decide until I'm sitting down with the bowls and colors in front of me which one I'll do. But I've only cut 25 pieces of paper so there will probably be another run and that will allow another color.
The biggest challenge still is the blood spot. It has three colors/impressions and it's still not right.

Stains and colors

I printed some sample proofs from my fresh keyblock.
The original idea was a simple black and white line drawing with the red blood stain on the white shirt. (I thought of carving different color stains --coffee, blood, etc but that seemed pushing it a bit too far).
But with some proofs on hand I decided to color some in with watercolor.
The one on the bottom R is my favorite;it would be sort of a halftone, bluegray--all the colors would be shades of grey except for the stain; the others are as can be seen above--I like the yellow tie more than the blue one.
The risk is that the subject--the blood spot--might be lost if too much energy and interest is directed at the necktie and colors.

The red stain will be cut off the key block and recarved so it will be much more noticeable. I'm also planning on adding a bit of alcohol to the color to make it seep a bit.

Any favorites/comments before I carve the next block?

Carving Blood

Well, I decided to step away from my big Jajim print for a little pause. I haven't done any carving since early this year and I wanted to make some chips fly.

SO I went back into my unfinished projects file and pulled out a little print that never got farther than a preparatory sketch. While brainstorming ideas for one of the Baren Forum exchanges I posted this as one of the ideas that got nixed. Several followers--well, most of them actually since I have so few--said that it was too bad as they liked the idea.
So did I. So I went back to my preparatory sketch--it was on old mat board and I looked it over--I added some type for the title and drove over to Kinko's and made a xerox to serve as my Hanshita. Glued it down that night and spent most of yesterday carving the keyblock. This morning I recut a few spot repairs I made on some slips. It looks mostly ok but it's carved pretty shallowly so printing will tell if it's deep enough.

Now I'm back into a stretch of shifts for work until next week but hope to get in to test print and see how much cleaning up I need to do on this block. And how many other blocks I'll need.

Wrinkled corners/Jajim continued

I've made decent progress on my Jajim/Kelim pieces. I printed 13 strips; 6 on Echizen Kozo and 7 on Nishinouchi. I took the better ones--those printed on the whiter and heavier E.K. and started playing with how they would look. Then I spent a day printing the background sheets. These are printed by hand off a sheet of uncarved exterior plywood and were printed in multiple layers and colors.
As I worried, I had a bit of trouble laying down and registering the background damp sheets of paper. My paper was slightly larger than my printing plate/board so the unprinted edge formed a frame all around the work. Unfortunately, as the printed portion became thinner from rubbing firmly with the baren, this portion became damper and thinner. The corners sort of dried a bit/ the printed parts got wetter and the corners buckled pretty badly. I let them dry and then re-wet the paper and let it sit overnight. Then I ironed them again as I printed an additional color or two over the background. They flattened out nicely but once they dried (under plywood sheets/some pressure) they wrinkled up again.
I'll have to figure out how to correct/avoid this before I try to print on a larger sheet.
I suspect I'll have to dampen them again, Flatten them with my baren to iron out the wrinkles and try a longer and heavier weighting to flatten them until they are fully dry.
But of the 3 big backgound sheets I prepped I got 2 acceptable versions.

Poppy 2

Well, salvage time. Mom's birthday and I didn't send flowers. (I didn't forget, she was in Norway! Cruising her way around the fjords).
This was the first pull off of Big Blue; it printed very spotty, the red was all wrong and the green dried on the plate and didn't print onto the dry paper.
So, watercolor to the rescue.
Daniel Smith artist color and some pure pigment brushed into the petals to get that vibrant red I wanted. Lots of greens mixed both on the paper and palette.
It's a little overworked and the drawing's a bit off. But it's way better than it was before. Hope I can get it dry and in the mail before the ship returns to port.