Category: Printmaking

Final Christmas Tidbits for Gracie

I am about to send out my niece’s holiday package, obviously it will be ridiculously late, a pattern she better accustom herself to.

As my last post made clear I am trying to refrain from purchasing  many gifts.  In addition to the previously mentioned hand-puppets I have been busy making book-plates. Clive was the inspiration , I wonder if he was aware of my cursing as I hand pressed each and every damned bookplate. I ought to have Popeye’s arms when I am finished.

 A sampling of the bookplates so far:

Athenian bookplates for Gracie
Athenian bookplates for Gracie

Grace is stuck with a theme this holiday, the theme being the grey eyed Athena, her bookplate is an illustration of the divine one. My intention wasn’t for such a severe plate, my initial drawing was slightly softer, but the cutting went where it went. Personally I like the plate, not sure what my disney- princess- loving niece will think.  She will have to grow into it.

Grace will also receive my athena print, I’ve posted this before but not in its shiny pink frame. I know Grace will like the frame at least.

athena in the pink
athena in the pink

The back of the print has a prayer to the grey eyed one. The printmaking technique is rainbow roll, something I do  not particularly care for but it might please my dazzle-eyed niece.

prayer card to athena
prayer card to athena

I did purchase a few books for Grace, I was particularly happy with the book on Athena  I found at the wonderful Getty villa in Malibu. I’m hoping I can successfully convert the girl to classicism ; the Getty would be the perfect place (in the States anyway) to introduce her to the wonders of Greece and Rome.

holiday books for Grace.
holiday books for Grace.

I stumbled upon some blank puzzles, which are a lot of fun to paint. I picked a goat as it seemed suitably Greco-Roman, plus they are terribly cute.

billy goat gruff
billy goat gruff

Into the package  I  have thrown in a little something for my sister and my brother-in-law.  Gregory is a pious man, so I thought my recent relief print of St. Benedict of Palermo might be suitable.  I hope so.

St.Benedict of Palermo
St.Benedict of Palermo

Putting this package together, I realized I have not actually seen or held my niece since 2008. My sister Kat and Grace flew out for our wedding and we were able to see what a delightful child she was. She has certainly grown and I have missed many chances to see her develop. I’m hoping this package can be a  way of fostering an intimacy from such a great distance as it is difficult for a great many reasons for me to fly out and see her personally.

Grace and her uncle2008
Grace and her uncle
2008

 

I am now eager to get back to painting, I have a few more bookplates to make. One for my niece-to- be Lulu, her mother went into labor this morning! Such excitement . Plus one plate for dear friends, but after that I need paint under my nails. 

Wishing all holiday cheer,

until next time,

take care,

LG

Athena, fresh off the press

 

In the final weeks of my printmaking class we have been focusing on relief printing, so far using sheets of linoleum. Of all of the techniques this is the one I have most taken to. I have just finished working on a plate of St. Benedict of Palermo (the Moor); I am eager to run a test print.

Relief printing, contrary to my expectations is well suited to the way I doodle, not the way I draw or paint, but doodling.

I have countless class notebooks filled with my doodling marginalia, I have admired the spontaneity but when I have tried to translate the doodle into another medium the results have been disappointing. The spontainity had been lost and the result was too ironic, too self aware, verging on cartoonish, not at all my intention or desire.

But I have found that when I translate my doodling onto the linoleum block the loose line is retained. The quirkiness is an asset.

The following image of the Grey Eyed goddess was first a loose doodle from my mythology class.  I created her as a prayer card for our recent election day, carving the image quickly before class with very little alteration to the original 30 second doodle.  There are flaws but I like her.  She has an archaic quality that I do not usually explore.  She is reminiscent (at least to me) of an early political poster from the first democracy; at least that was my intention.

I’m heading to the frame shop to have two prints prepared as gifts for my two nieces, Grace Sophia and the still to be born Lulu.

Lulu is expected to burst onto the scene December 15th , she is eagerly awaited ; having Athena in her nursery seems a good omen.  

Athena
linoleum cut on paper
9 by 12 inches

Until next time,

take care,

LG

Gligamesh and Enkidu and other beefy fellows.

 

Printmaking is progressing onwards, seventh week already; received  my first grade for  the etching/aquatint segment of course.  I’m pleased with the grade.

I’m less pleased with my actual mastery of this tricky medium, trying to be patient and enjoy the discoveries.

It would be lovely if I were a relaxed, easy going southern Californian like  my fellow students, everything that is produced is “G-r-e-a-t!!!!”.

Their enthusiasm is exhausting.

Anyway, the following  print was designed to showcase my understanding of the various techniques taught within the last few weeks.

I upped the ante a bit by choosing a larger plate (9 by 12) and focusing on drypoint which everyone in class including the teacher seems to shun; I love the technique. The techniques are a soft ground transfer, with drypoint and aquatint ; the aquatint failed multiple times to produce sufficiently dark value- the plate became warped and the rosin would not settle properly. I compensated with drypoint.

The Vanquished Humbaba
etching
9 x12
1/3

The above image was printed in a particularly pretty blue, I also ran a run in graphite, pretty color, but a bit weak.

graphite run

Actually, I rather like the color.

My first proof was just the soft ground etching, which I liked, reminded me of a very primitive Flaxman print.

first proof

We initially begin the project with a value drawing.

Initial preparatory drawing for the “Vanquished Humbaba”

My inspiration for the print was from a spectacular Syrian bas relief of the 10th or 9th century; I’m crazy for its archaic quality and its humor.

Syrian basalt relief

Gilgamesh and Enkidu Slaying Humbaba

basalt relief, from palace of King Kapara at Toll Halaf, Syria.

10th-9th cent. B.C.

When I began this class I also began a large painting, 50 by 60 inches. Taking Clive’s advice I decided to move the action forward (the Syrian relief an inspiration). I made use of my Hero Twin maquettes and have been busy painting since.  I am nearing completion.

Until I post the final image I thought I would tease with my preparatory sketch.

Preparatory sketch for the “Resurrection of the Father” with maquettes of the Hero Twins.

Well I must get on with my day, an evening class but first a studio day to work out a plan for for mono prints, our next adventure!

 Take care, LG

Intro to Printmaking

As I mentioned before I am taking a course in printmaking, so far we have focused on etching and its various methods.

It is as many can imagine, very exciting, frustrating and humbling.

But I am thrilled to be gaining this knowledge.  The following image is my first complete print, which consists of three distinct processes: hardline etching, soft ground texture and aqua/mezzotint.

Predictably I have chosen my beloved Quetzalcoatl sowing his seed (naughty innuendo intentional) .

Quetzalcoatl
etching
6 by 5 inches

First off, please understand I am still trying to master the most basictechniques; my stylus slips all over the zinc plate, my hand is unsteady and insecure, this clumsiness is apparent .

But at this stage I really am trying to merely understand the process and the opportunities afforded by this new medium.

The first stage of this print is hardline etching, pretty basic ; you press your stylus into a plate prepared with a base coat of hard asphaltum. Warm the wax on a giant hotplate, you roll it out, cool  it and presto, a lovely surface to doodle upon.

Unfortunately  i have yet to master line control on this slippery surface.

Patience and practice… first stage follows:

First plate- hardline etching

The second plate, adds texture and mood (or so I am told), frankly it is my least favorite stage.

I prefer creating texture by hand.

In this assignment I was instructed to press textured material into the plate which had been prepared with a softer ground of asphaltum than we had used for the hardline step.

I chose, given the print’s very small size, wisps of broken cheesecloth and snippets of  an ungodly 70’s textured wallpaper. 

second plate- textured soft ground

The third plate, which was to be our last, was aquatint, a variation on mezzotint (made famous by Goya).

This was the most challenging step, values are determined by timed soaks in an acid bath.

Having first fashioned (a time consuming) value chart , I had a sense of how to achieve the values I sought; or so I thought.

third plate- aquatint process

Unfortunately my timing  was off, I hadn’t created any blacks; a problem in that I wanted them, and more importantly the assignment demanded them.

Back to the acid bath, blocking out the areas I wished to keep with a material called Stop Out ; then with careful timing, seeking to attain my goal of a richer black foreground.

fourth plate-final

I achieved what I sought, I would make changes if I could have better predicted the outcome,  but I am pleased that I am beginning to better understand the complexities and opportunities of etching.

My appreciation for my own collection of  18th and 19th century engravings and etchings has soared beyond mere aesthetic appreciation ; what was accomplished by these past masters is technically astounding.

A technique I was eager to play with was drypoint.

 I have a few drypoint prints in my collection, I love the evocative smudgy quality of the images. Rembrandt of course made the technique famous, but others have mastered it as well.

 It turns out (thus far) to be my favorite technique.

It also proves to be the most challenging, this little (3 by 4 inches)Ecce Homo is my first incredibly naive attempt.

It is a brutally ugly image, I’m frankly embarrassed  by it; but Clive has encouraged me to revel in the process.

So here is what reveling in the process looks like.

God save me.

Ecce Homo
drypoint
4 by 3 inches

Tomorrow we start a new process, soft ground etching. It is a process my insructor believes offers artists the freedom drawing affords. In anticipation I have put together this finished drawing of Cain.  I understand the final image will not retain the precision, but I like to work out all details BEFORE facing an acid bath.  I will post the result and perhaps some of the process when  I am finished.

Expulsion of Cain
preparatory drawing on paper
6 by 5

Until next time,

take care,

LG