Saturday, May 30, 2020


 Here we are at color #9, and something unexpected happened: the background color is, unfortunately, blending in too much with the figurine's hood. It's not quite as blended in this photo, and I haven't yet looked at the print under natural light.

I have two options: either redesign the print so the background color is lighter, and hope that the contrast is enough, or design it as darker. The problem is that whatever I choose as a design for the background needs to work with a light OR dark color. The reason is that, if I choose to make the background light, and I find light makes the hood too washed out, I can switch to dark, and vice versa.

The case for dark is seen here. You can see the contrast. The down side is, depending on what color I choose, the pot she's holding risks disappearing.

Conversely, because the hood is so light, the hood may not pop. Stay tuned!

Sunday, May 24, 2020

MISTER Ulean?! That's SIR Ulean to YOU, bub!

Firs color down was a very dark Cerulean blue. I plan out my colors different than most printmakers in that I like to work dark to light. It helps me to steer colors the way I want them. I also plan the colors so one layer is enhanced by the previous layer. For example, the next color will be a lighter version of this, and the one after that will be a green. I would never put a yellow or red next, because it would change the color.

Fresh Start

It's been almost a year since I've posted, and bit longer since I've had a print to show. I've been working very hard on cartooning, which I hope will bring something to my printmaking at some point.
It's been very relaxing to study cartooning, and gives me an opportunity to study perspective, color and composition.

But, of course, it always comes back to printmaking...

The struggle to find the time is unchanged. I have remained essential, as I work in the medical manufacturing sector.

But I do have fun!

Friday, June 28, 2019

Monday, April 22, 2019

Damp Details

 This Traffic signal was the original seed of this print, a childhood memory of my neighborhood. Obviously, it was not the focus, but I love that the red and green held through all of the printing.

Whether it's clear or not that there is a church among the hazy buildings in back doesn't matter -- the silhouettes are there for depth (this place exists only in my mind and, now,bon paper). However, a fun note is that the rosette window is a spontaneous tribute to Notre Dame Cathedral, which burned during the making of the print.

The block is destroyed during the making of a reduction woodcut. Trying to explain the process to non-printmakers is a challenge. This should drive the point home.

Saturday, April 20, 2019

Rainy Day

9x7 reduction woodcut, 10 colors.

Thursday, April 18, 2019

Day Brightener

The mantra in the studio is "trust the process." Reduction woodcut is much different than other forms of block printing. I work from a cartoon, which is a road map for the print. I transfer the image to the block using carbon paper, though the block absorbs pigment, making the tracings almost invisible. The biggest challenge is color. Colors react to colors around them, but because I won't know how the colors will act until the print is done, I need to trust the palette I selected at the outset.

 Here you can see how the colors seem different. Another interesting thing is that the top color, a very light pink/beige, looked completely different when printed alone, more of a putty gray. But with the red under it, it casts a bit Pinker, which is why I printed in this order. I printed the brown over the green for the same reason -- printing red on green would have made the red too dark.

Tuesday, April 16, 2019