From Beneath The Blankets

New Year Addition

2012-01-21T09:02:00.000-08:00

Happy New Year everyone. I know it's been awhile since I've posted but things have been a little busy here at TreeTop studio. On new years day, a new grandson came into our lives so needless to say, studio time has been put on hold. I'm playing the role of "grandma" and assisting my daughter with the new baby.

I have had several people comment recently about my inclusion of thread in my prints so I decided to post a piece about an earlier experiment with a fiberglass plate and sewing. If you're interested, check it out at Melody Knight Leary

Meanwhile, I have a baby to rock.

My Procedure

2011-09-22T14:22:00.000-07:00

I often get asked about both my creative and printmaking processes and being a teacher, I'm always happy to share.

My imagery is usually a compilation of my photographs and sketches that I alter through digital manipulation and transformations, by hand, of the film or drawings used to make the plate. Sometimes alterations are made on the surface of the plate itself. This process, allows me to transform my original sketch at several stages of the process. Ultimately the print that emerges reflects my love of complexity, implied meaning and layering as I pair and group images to express feelings, ideas and emotions.

Once I had my image worked out for "One Size Fits All", I made a small plate and proofed it. This allowed me to check the clarity of the image and refine my exposure time. When I was happy with the image, I created a negative that had multiple copies of the "master" image on one transparency. Because my print would be a bleed image (no borders around image) and because I was using the photopolymer film ImagOn, this allowed me to create a matrix that held identical images that could then be printed simultaneously. (In this instance, I was able to print four images with one run through the press.) With a plate that is only 3"X 3", this makes producing an edition much easier. When the prints were dry, I added the hand coloring and trimmed them to size.

One Size Fits All

2011-09-22T09:56:00.000-07:00

My edition for the 2012 "Littlest Print" exchange portfolio deals with the concept of size and that ubiquitous label "one size fits all". As millions of women know, that misleading phrase is just hype and can certainly be labeled propaganda promoted by clothing manufacturers trying to appeal to the masses.

The print's background deals with the categorization of various body types and was meant to highlight society's need to label women; apple, pear, rectangular, triangular, etc. The small figures were intended to read as hieroglyphics; stylized and symbolic of the need to typecast. An "average" figure stands before these as a counterpoint to these simplified standards. An old dilapidated dress form was included to reference the fashion industry.

There's a lot going on in this small format but I'm happy with the print and feel that that I successfully used the portfolio's theme to make a point.

It's all in a mornings work.

2011-09-22T09:51:00.000-07:00

After looking over my proofs and reworking the plate, I was happy with the image and decided to move ahead with editioning. Since the size of the print is limited to 3"x3", and there was a lot going on in my image, I though it best to do a bleed print.

I used Akua carbon black ink and added a little magnesium carbonate to stiffen it slightly. The plates were wiped with pages of old phone books and printed on dry Hahnemhule Copperplate paper. Once I got started everything went smoothly and by noontime I had my edition completed.

It was always my intention to add a bit of color so once the edition was printed, I went back and hand-colored the prints with watercolor.

Now to walk away and let everything dry.

Morning proof

2011-09-21T13:51:00.000-07:00

Got up this morning and hit the studio to proof the plate I prepared the night before. Not too bad. I'm happy with the image and pleased with what I conveyed in such a small (3" X 3") format. I'll tweak it a bit, pull some more proofs and evaluate the results before I commit myself to an edition of 50.

I can't stop.

2011-09-20T19:10:00.000-07:00

This past week I was excited to receive the 2011 "Littlest Print" collection. This year's challenge was to create work that dealt with "Accessibility" and it was interesting to see how 50 printmakers interpreted the theme.

I find "The Littlest Print" a fun exchange to participate in and have done so since its inception in 2009. I don't know what it is about exchanges but to me it's like eating M & M's; I can't stop. With The Littlest Print, it's the challenge of creating an interesting 3" X 3" image and the discipline of producing an edition of 50 prints.

I recently told myself that I wouldn't do any more exchanges for awhile, since I have limited studio time, yet as soon as I read about the 2012 challenge I found myself working up ideas for a print. The next thing I know, I have an idea, sketches, and a plate ready to proof.

The 2012 theme is "Proclamation & Propaganda". I tied this in with my Venus Envy series and played around with the idea of "one size fits all"; propaganda for sure! I combined an image of an old dress form with various body shapes and ended up with a composition that I feel fits the exchange theme.

After playing around with my sketches and settling on an image, I created a negative. ImagOn was adhered to a sheet of Plexiglas and the plate was exposed to the negative and processed in a soda ash bath. I'll let it sit over night and proof the plate in the morning and if I'm satisfied with the image I'll decide whether or not to begin printing for next years exchange.

Newport Art Museum

2011-09-16T06:58:00.000-07:00

The weather was beautiful this week and I had some spare time on my hands so I took a ride to Newport, R.I. to visit the Newport Art Museum and check out the micro/MACRO exhibition by The Printmakers' Network of Southern New England. I was very impressed with how great the exhibition looked. Larger prints were placed in a main gallery and the museum hanging committee did a fantastic job! They really knew how to place the pieces so that one artist's work played well off of those who were hung next to it; very impressive.

In addition to the main exhibition, PNSNE also created a portfolio entitled micro which showcases small 5" X 7" prints.

The portfolio is the 5th created by the Network and includes 21 original prints in an edition of 25. The micro portfolio work also looked great framed. And again, the small pieces were hung with a sensitivity to which works would be adjoining each print so every one was enhanced by what it was next too. So professional. It's rewarding to be part of a group that enjoys exhibiting and working on projects together and great to share our work with the public in such a wonderful setting.

Newport Art Museum

2011-09-12T19:21:00.000-07:00

micro/MACRO is a new group exhibition by the Printmakers Network of Southern New England which focuses on scale; very small prints hung alongside large works. I decided to exhibit a collection of small works that I had recently created for exchange portfolio projects. Prints I do for exchange portfolios are usually boxed away, as part of a larger collection, and rarely go out on exhibit. It was satisfying to see my recent exchange prints formally framed and hung in a major exhibition; also fun to see tiny works competing with larger prints. It's interesting how small works can hold their own against larger pieces. That old adage is true, bigger is not necessarily better.

Inkteraction Exchange Portfolio

2011-09-12T09:39:00.000-07:00

Last week I had a little time away from my construction duties to focus on a studio project that had a September 30th deadline. Having signed up to participate in an Inkteraction exchange project called "Navigating Currents-100 Inkteraction Reactions", I was relieved to finally have time to print my edition.

Inkteraction is the web’s largest community dedicated specifically to printmakers with members spread out across the globe. The site acts as a central meeting place for printmakers to share their work, ask questions, and share knowledge and exhibition opportunities. In essence, Inkteraction is "a port in the storm that is the internet". When producing work for the portfolio, the challenge was to consider how the theme of “Navigating Currents” relates to the mission of Inkteraction.

I played around with a few ideas and finally decided to keep my image on the playful side. As a kid, I remembered passing carefully folded notes back and forth to communicate with my friends. Playing off of this, I decided to use paper airplanes as message conveyers and incorporated maps depicting a variety of currents. I had a new graphite colored ink from Akua and liked the idea of using this color as a reference to note taking.

ImagOn was applied to a sheet of plexiglass, my image was exposed and developed. I inked and wiped the plate with the graphite ink then applied a surface roll of pale blue gray ink. The 5"X7" image was printed in an edition of 15 on Hahnemuhle Copperplate.

"Conveyance" is the finished print.

Like it was yesterday

2011-09-08T19:12:00.000-07:00

As the 10th anniversary of 9/11 approaches, I'm amazed that so much about that horrific day is still so fresh in my mind; like it was yesterday. I remember minute details about that clear, bright, perfect September day and wonder if time will ever diminish those images that seem to be burned into my psyche. To this day, when I hear a low flying airplane, I can't help but feel anxious & my thoughts immediately turn to the events of that day.

One of my strongest memories is of those individuals jumping and falling from the buildings and the courage it must have taken to make the decision to meet their fate on their own terms. They knew no one could save them and the lack of oxygen & extreme heat drove them to jump. I try to put myself in their position and wonder if I would have had the courage to do as they did. At least two hundred people jumped or fell that day and the images of those souls falling from the buildings will remain with me forever.

This is a piece I did shortly after 9/11 entitled The Fall.

Long Days = Great Results

2011-07-27T17:16:00.000-07:00

Even though our framer is still dragging his feet finishing up the outside details on the cottage, my husband and I have been hard at work on the inside. We've been wiring, plumbing, painting and constantly cleaning up from the general building process.

The past couple of days was dedicated to installing the kitchen cabinets. Measuring, leveling, and measuring again yielded great results. We have the majority of the cabinets installed and they look great in the space.

To celebrate, I couldn't wait to put a custom made set of porcelain dinnerware (compliments of muddy_fingers) in the new cabinets. I look forward to using them, but know it will be a while yet before that happens.With a big project such as this, it's amazing how fast the summer is flying by.

BUILDING UPDATE

2011-07-16T18:18:00.000-07:00

Haven't been able to send much time in the studio lately; all my attention has been focused on our building project. With deadlines looming, 12 to 14 hour days are not uncommon, but we are making headway. So many things to finish up before the blue board & plaster next week. It's funny to be spending so much time at the beach but not having a tan to show for it! Right now, I just keep reminding myself how nice it will be when we are finally able to sleep over. (Notice I didn't say "when we're finished".)

The bridge to the "crows nest" is underway and will be a great addition. Nothing like being able to just walk off the front porch to the dune!

Surprise Exposure

2011-07-16T18:05:00.000-07:00

The Journal of the Print World recently published an article about the Printmakers' Network of Southern New England's upcoming Micro/Macro exhibition to be held at the Newport Museum. It's always a nice surprise to find your work mentioned in a publication; and much appreciated.

Midriff

2011-05-16T10:22:00.000-07:00

Last Friday, after a marathon day of printing, I had the satisfaction of seeing an edition of 26 drying on the line.

Once the prints were dry enough to trim, they were ready for the addition of laces. After playing around with different configurations, I finally settled on a layout and spent today finishing up the print.

"Midriff" is a small 5" X 7" intaglio print created for an upcoming exhibition at the Newport Rhode Island Art Museum entitled Micro/Macro; an exhibition of small & large prints. Next project, working on a large print for the same show.

So Many Options

2011-05-11T17:33:00.000-07:00

I've had a hard time settling on an image for an upcoming exhibition that requires an edition of small 5" X 7" prints. Working small can be problematic and I just couldn't make up my mind as I tried out different options. Having spent last week working on images and making ImagOn plates, today was dedicated to proofing, figuring out exposure times, and experimentation. However, no matter what I did, I just wasn't satisfied with any of the prints; they just didn't seem right in a small format. At this point, I'll use these proofs as inspiration material for larger works.

I had one final plate left and even though I was ready to clean up and call it a day I decided to pull one last proof. I was glad I took the time because I ended up with an print I'm really happy with and the subject works well as a small image. Even though it measures only 5 X 7 inches, it doesn't feel small. I also like the way it looks in black and white, which will work well with the colored thread I intend to add to the print. I'll tweak the image tomorrow, pull a few more proofs and then hopefully I'll be ready to edition.

A New Website / Blog

2011-04-18T08:36:00.000-07:00

At the beginning of the year, I decided to create a new website that had a more professional appearance and consolidated everything in one place; background information, artwork, exhibition news, and a blog. After checking around, I decided to investigate WordPress. (http://wordpress.org/) It provided a number of templates to select from and I even found one that allowed me to have a fixed home page, which I felt was important. I also liked the fact that I could update the site whenever I wanted without having to go through a web designer.

Now I'm not a computer wizard so the process took a bit of trial and error but with some patience and time I was able to put something together that looks pretty good and is easy to navigate. It simplifies things and I like the fact that I can direct people to one comprehensive site. I'm hoping it works out well and would appreciate you stopping by to have a look. (Feedback is always welcome!)

me.http://melodyknightleary.wordpress.com/

Tapestry of Feathers

2011-04-14T09:35:00.000-07:00

I recently finished a second "kid friendly" print for an upcoming children's exhibition and had a lot of fun just playing around with the monotype process. I based the print on a photo I took last year of a beautiful peacock at the Honolulu Zoo. I felt it would be eye-catching and appeal to children of all ages.

The print is a monotype created with Akua Intaglio ink. After masking out the bird's body, I inked up some bubble wrap scraps to lay in a basic background texture and rolled in other areas of color directly with the brayer; unwanted areas of ink were wiped away with a cotton swab. I created the image on a sheet of plexiglass and ran it through the press each time new information was added to the plate. I also used a few found objects as stamps.

When you're up close to one of these magnificent birds, all you notice is layer upon layer of beautiful feathers. Since I couldn't resist printing some actual feathers, I sacrificed an old feather duster and printed with wild abandon. Since my goal was to create intricate, complex layers to imitate the birds plumage, the actual feathers worked well.

Periodically, I would paint directly onto the plate to add detailed elements; some of which would get lost as I overprinted textural elements. I finally reached a point where I just had to force myself to stop.

This turned out to be a good exercise and forced me to let go and embrace the process rather than the outcome. It was all about experimentation tempered with experience which ultimately yielded an interesting print.

Local Traffic Report

2011-04-06T09:45:00.000-07:00

I finally finished my piece for this summers "Inklings" exhibition at the National Children's Medical Center in Washington D.C. I had initially planned on using two plates; one for color and one for line work. However, after pulling my first prints, I wasn't happy with the outcome and decided to change course. I switched over to Akua Intaglio Inks for heavier coverage & less bleeding into the paper. I like the painterly quality of the new print and felt that it didn't need to be over printed with line work.

It seems like I've been working on this project forever and have changed course a few times along the way. What initially started out as a screen print changed into a combination monotype/monoprint and eventually ended up as a straight monotype. Stepping away from the project for a few days and convincing myself to just have some fun, really helped me to move forward with the print.

This piece was based on a pile of old Matchbox cars and I think its a light hearted interpretation of an everyday occurrence that many endure: "commuter traffic". I'm hoping it will appeal to both kids and adults.

Slow and Steady

2011-04-05T05:39:00.000-07:00

Took a break yesterday to check on my other creative project. It's been slow going because this crazy New England weather just won't settle down; storms every few days. After an exceptionally snowy winter and now a rainy spring, it makes it difficult to move ahead. We're hoping that sooner or later we'll have a string of really nice weather so the project can speed up a bit.

It was great to see the roof trusses go up. You get such an interesting sense of space looking through all of the wooden studs. It's like being inside a giant Erector Set. I'm starting to get a real sense of the space and the views will be amazing. I know there will be a lot of work ahead once the framers are through and my husband and I begin to work on the interior. It's sure to be a long hot summer but just going slow and steady will get the job done. Right now, I'm hoping we will be celebrating Thanksgiving at the beach.

Inklings

2011-03-30T10:13:00.000-07:00

I've been working on images for an upcoming exhibition with the Printmakers' Network of Southern New England entitled "Inklings". The prints will be on display this summer at the Children's National Medical Center in Washington D.C.

I had a hard time settling on an image that would appeal to children and finally realized that I was over-thinking the task. Throwing caution to the wind, I decided to just lighten up, do something different and have some fun. I settled on toy Matchbox Cars; dumped in a pile they reminded me of a traffic jam. Since the D.C. area is notorious for it's Beltway traffic, I thought this would be a great way to use toys to mirror a local daily occurrence.

I decided to do a two plate monoprint; one plate for color and one for line work. A Dremmel tool was used for the intaglio plate because I wanted a childlike line quality. The second plate was painted with Akua Kolor.

Since the ink was applied over a two day period, it dried slightly on the surface of the plexiglass so I dampened my paper to be sure it would pick up the ink. The painted plate was printed first with the intaglio plate over it.

I'm not entirely happy with the final print. I think this has to do with my tendency of wanting more control over the process and with monoprits, unexpected results often occur. Since I'm up against a deadline I need to just let it go and appreciate it for what it is. On the positive side, the image does have a child-like, coloring book charm and I think it will appeal to children. On the negative side, I'm surprised by how much the Akua Kolor ran and disappointed that the colors lightened so much during printing. Colors were fairly strong the first time the painted plate was run through the press but lightened more when run through a second time with the intaglio plate.

I'll experiment with the plates a bit more before I move on.

Best laid plans...

2011-03-04T14:25:00.000-08:00

Spent the week working on a serigraph that, after the first few colors, was obviously not going to work for the image I had in mind. I kept plugging along though until I was sure it couldn't be saved. I believe it was Sam Beckett that said, "Try again. Fail again. Fail better." Anyway, it's obvious I need a break and I'm hoping that getting away for a week will allow me to clear my head and recharge. A change of pace is good for the soul; rejuvenating, invigoration, and necessary.

Kid Friendly Print

2011-02-27T15:09:00.000-08:00

My goal for the week is to complete a "kid friendly" piece for an upcoming exhibition. This summer, the Printmakers' Network of Southern New England (http://www.printmakersnetwork.org/) will be exhibiting a collection of prints at the Childrens National Medical Center in Washington DC. The May deadline is fast approaching so time is of the essence.

Last week was dedicated to sketching and idea development. I spent some time trying to decide what would be appropriate for the venue, appeal to kids of various ages, and also be interesting for me. Searching for inspiration, I gravitated toward my daughter's old toy box. Finding a bag of Match Box Cars, I dumped them out on the floor and played around with various options. Since this is for a DC institution and traffic is a daily issue, I decided to use the tiny cars to depict the typical traffic in and around the Beltway.

Next decision; what printmaking technique to use. I decided to do a crayon resist serigraph. I haven't done a screen print in awhile and I liked the idea of using the humble crayon to depict an everyday scenario using an iconic toy as the subject matter. I spent last week working out compositions and preparing my screen. Everything's now ready to go and I hope to get a few colors down by the end of the day on Monday. (Also keeping my fingers crossed that it will turn out well enough to exhibit!)

I replaced the fabric on an old screen, set up my hinges, and used screen filler to mask out the print's borders. I have 3 "pegs" set into my screen base so I attached strips of paper with corresponding holes to my printing paper. This should give me good registration for each color.

The drawing is placed on the base and protected by a sheet of acetate. Crayon will be added successively, after each color is printed, until the screen is completely blocked out. Color number one, first thing Monday morning.

2011 LITTLEST PRINT EXCHANGE

2011-02-09T07:16:00.000-08:00

Spent yesterday working on an image and plate for the 2011 Littlest Print Exchange. Apparently I couldn't wait to print it because I woke up really early this morning wanting to head to the studio. I was able to get down to business and managed to crank out an edition of 55. Granted, they are small but still require the same process of inking, wiping and printing as any edition. I enjoyed the 3D optical illusion the prints created when lined up on the press.

The 2011 theme is “accessibility” reflecting printmaking’s capacity to produce multiple original works of art accessible to the masses. I decided to deal with the opposite and created an image that deals with the masses being barred from access.

“Barred” is a tiny intaglio print measuring 3” X 3” printed as a bleed image on Hanhnemuhle-Copperplate. It deals with the issue of “no access” by obstructing entry with the construction of a barricade of sticks and battens to exclude the masses. I decided to work with the simple starkness of the black and white to emphasize the complexity of the pattern and rhythm created in such a small space.

http://littlestprintexchange.blogspot.com/
http://littlestprintexchange.com/

Decisions, Decisions, Decisions

2011-01-29T13:09:00.000-08:00

Spent the day playing around with my dress form print and experimenting with options for the background. After much trial & error and proofing I decided that less was more and there was no need to over work the background. Since the print is only 7" X 5" and a bleed image, I decided to keep things simple. Funny how sometimes your first option turns out to be the best but you still feel compelled to mess around with the image anyway. As usual, my desk is covered with about 6 different ideas and sketches for upcoming exchanges and exhibitions; along with today's proofs.

It was a productive day. I've settled on the image, fine-tuned my plates, paper is torn and my inks are mixed; ready to edition. I'm using two ImagOn plates. I'll ink the background first in a cool gray and then roll a transparent yellow ocher over the candle area. The second plate with the dress form and the hash marks will be printed over the background in black. I'm hoping that if I get an early start I can complete the edition in one day.

Snowed in but studio is warm

2011-01-27T08:52:00.000-08:00

Yet another snow storm here in Connecticut but I made good progress on a print for an upcoming show entitled Micro/Macro. The Micro part requires exhibitors to create an edition of 25 bleed prints measuring 5" X 7" and sometimes it's difficult to come up with an interesting image for such a small format. I've been working on various sketches and plates and finally settled on an image. Yesterday was spent proofing, experimenting with color options and tweaking the image. A few more adjustments and I should be ready to edition.

Many times an artist is asked, "Where do you get your ideas?" Of course, inspiration can come from anywhere but I thought I'd share my catalyst for this new print and introduce you to my muse.

Years ago, I found this great old dress form by the side of the road and being the "junk" collector that I am, I just had to stop and throw it in the car. Even though it stands in the studio and holds my aprons and work shirts it was always my intention to use it as a subject for a series of prints. I can relate to "her", as she stands there by the window, still proud but a little frayed around the edges and showing her age. That's when it struck me; use her as a metaphor for myself and this whole inevitable aging process.

On the technical side, I am doing a photopolymer intaglio using ImagOn film. I worked up the background as a drawing and scanned it into my computer. A photograph of my muse was altered in Photo Shop and superimposed over the background. ImagOn was adhered to two plexiglass plates and then exposed to the transparencies. My plan it to print the background plate first, then the dress form image over it. Because I'm using Akua inks, I can print without dampening the paper which will make the registration easier. We'll see how it goes as I prepare for editioning.

This is what I have so far and will make a few changes before I'm ready to call it finished. The birthday candles in the background, the hash marks and of course the condition of the dress form record the passage of time.

A Trip Down Memory Lane

2011-01-15T14:22:00.000-08:00

As a young artist, I was extremely fortunate to attend Norwich Free Academy; an independent high school with a nationally recognized art department. The Norwich Art School offered an array of outstanding art classes that were taught by dedicated, practicing artists. For a young artist to have the opportunity to enjoy classes in clay, jewelry & metalsmithing, painting, screen printing, calligraphy, art history and observational drawing, was a dream come true. In addition to the art school, NFA was also home to Slater Museum; which housed an outstanding plaster cast collection of classical sculpture and numerous two-dimensional works of art.

Having known since second grade that I wanted to be an art teacher, my ultimate goal was to return one day to NFA and teach in the Art School. In 1977 my dream came true; I was asked to join the NFA faculty! It was a full circle moment. I had the the opportunity to give back to the school that had played such a huge roll in my artistic development. I shared my passion for art with hundreds of great students, taught a variety of art classes and was instrumental in establishing a class focused on printmaking. Then just when I thought the experience couldn't get any better, I was appointed Norwich Art School Director and served in that position until my retirement.

Recently, the museum director contacted me about purchasing some of my work for Slater's collection. Her goal is to have work in the permanent collection that represents all of the Norwich Art School's director's. Needless to say, it's an exciting opportunity and very humbling to be a member of such a small but influential group.

So, as I was looking forward to what 2011 would offer, at the same time I was looking back (way back) to an important relationship that dramatically shaped my life. Old memories surfaced as I was being interviewed for the museum's archives and it was exciting to select pieces for the collection. As I look ahead to the new year, I also feel like I really do have a little place in history.

http://www.norwichfreeacademy.com/museum

First Print Exchange of 2011

2011-01-15T12:22:00.000-08:00

I stumbled upon an interesting print exchange a couple of weeks ago and decided to make it my first of 2011. The idea was to use leftover paper scraps (no larger than 5” X 7”) to create an edition of 14 prints. Of course, it would be easy to just bypass the leftovers and start with a fresh sheet of paper but I decided to embrace the concept and approach it as a great opportunity to use up some studio leftovers. I ended up using scraps of Arches, a 3” X 4” scrap of Solarplate, some leftover Akua ink I had mixed for another project and finally some leftover cotton cord.

I photographed of one of my body prints and manipulated it in PhotoShop to create a mirror image. It was printed out on acetate and exposed to a scrap of Solarplate. After processing the plate in warm water and re-exposing it to ultraviolet light I was ready to print. “Gap”

When the prints were dry I cut out the negative space between the figures to leave a gap. I hit the center fabric image with a watercolor wash, punched a few holes, added a couple of metal eyelets and finished with a bit of thread for lacing. This piece is a continuation of my “Venus Envy” series. I liked the idea of trying to make something fit but sometimes, no matter how you go about pulling it together, you often end up with a gap.

I have come to look at print exchanges as an opportunity to try out ideas in a small format; kind of like miniature “print / sketches”. They often lead to larger pieces or similar techniques used in future prints.

The due date for this particular exchange is March 15, 2011 so if you have some leftovers, you might want to put them to good use. http://www.leftoversanyone.blogspot.com/

New Website

2011-01-15T11:04:00.000-08:00

As 2010 came to an end, as is customary with many, I looked over what I had accomplished. It turned out to be a busy year and there were times when getting to the studio was hindered by other obligations. But that being said, I still managed to create some new work and participate in a number of shows.

One of the things that I did want to accomplish, was to put together a more "professional" looking personal website; a place that focused just on my studio practice. I wasn't ready to invest in the services of a professional web designer just yet plus I wanted to be able to add material to the site without having to go through someone else. A couple of friends suggested that I check out WordPress.com so I figured I'd give it a try.

Now mind you, I'm a self taught computer user so technical things often elude me. Even though it took a bit of trial and error to figure out how to navigate the site and make it do what I had envisioned, in a couple of days I managed to put together something that works fairly well.

I chose a template that allowed me to have a static homepage; something that I felt was important for a professional appearance. Navigational tabs make it easy to move around the site. I was able to include all the components that a professional website would have; artist info, exhibition info and the ability to group my prints into categories. Listed as "In The Works", focuses on my current printmaking endeavors. It's nice to have everything in one place so that I can direct people, who are interested in my work, to http://melodyknightleary.wordpress.com/.

I'm not sure if I will keep two blogs going but we'll see. The bottom line is, if you want to set up a quasi professional site, it is possible to do it yourself. Hey if I could figure it out, anyone can.

Happy New Year to all and my your inspirational Muse be kind to you in 2011.

Travel +

2010-11-02T05:27:00.000-07:00

The Bristol Art Museum, in the Rhode Island bay area, hosted an exhibition of the Printmakers' Network of Southern New England. It showcased our latest group project which was a book of poetry and prints titled Travel. Additional work, by the artists who participated in the book, was also included.

It's always great to have an opportunity to exhibit your work in a different venue and Sunday's opening was well attended, highlighted the versatility and diversity of the group and ended with a few pending sales.

Belonging to a group of diverse artist/printmakers is a wonderful way to collaborate on special projects, build collegiality and share your work with the public. The Printmakers' Network already has 3 upcoming projects in the works; a summer exhibition of large prints at the Children's Medical Center in D.C., an exhibition at the Newport Art Museum scheduled for fall of 2011 and a 20th anniversary portfolio titled "Score" for 2012. I'd better get busy in the studio!

Network Gathering

2010-10-27T12:16:00.000-07:00

The Printmakers Network of Southern New England held their fall meeting at the Providence Art Club in downtown Providence, R.I. (Just down the hill from RISD.) What a wonderful environment!

The Providence Art Club was founded in 1880 and created to promote the appreciation of art in the community. It's home to studios, galleries, and a clubhouse housed in a procession of historic buildings. You can check them out at their site. http://www.providenceartclub.org/

There have been renovations made in one building to house classroom and exhibition spaces while parts of the older buildings step you back in time.

You could almost imagine dropping by for afternoon tea as you set foot into some of the rooms. The buildings are connected by atrium like hallways.

It was a beautiful day to visit Providence and a treat to check out the various corners of this wonderful old establishment. It's always great to get together with fellow printmakers to share ideas and plan for group projects and exhibitions. Being a printmaker is almost like belonging to a secret society; if you meet another printmaker, talk immediately turns to techniques and materials. There seems to be an almost instantaneous collegiality among printmakers that I'm not sure is there among other artists, or at least it's not the same. Every printmaker that I've met, either in person or online, has been enthusiastic about what they do, and generally very generous with their knowledge and insights. I think we're all pretty much caught up in the process, at least to some extent, of our given printmaking media, and recognize that spark of craftsmanship in other printmakers, too. Needless to say, it was an enjoyable meeting.

And the Walls Came Tumbling Down

2010-10-20T05:09:00.000-07:00

Interesting week as we watched the cottage being demolished. It's amazing how quickly a place can be reduced to a pile of rubble. It was sad to see it go (so many great memories) but exciting to think about what's to come. Right now, there's not a lot we can do so I have time to spend in the studio. I'm thinking of doing a few prints dealing with this demolition.

Only the "crows nest" is left at the moment. Hopefully, the rebuilding will start soon and we'll see some progress by Thanksgiving - fingers crossed.

Back in the studio.

2010-10-12T12:37:00.000-07:00

There's nothing like spending a productive day in the studio. I finally had time to make progress on an image that I had set aside during the summer. It's based on a photo of the room I stayed in while in Hawaii. I loved being on the 27 floor and the sense of being up in the clouds and away from everything.

I manipulated the image in PhotoShop and printed it out on acetate. After making a small trial plate, to test the exposure time, I went ahead and adhered the film to plexiglass. As I was proofing, I had one of those "ah ha" moments when I spotted a scrap of that non-skid backing used under throw rugs lying on the counter. I placed the plate on the rubber surface and easily wiped the plate without it skidding around. I don't know why I hadn't thought of this before but I will definitely used this on a regular basis.

My original intent was to work in black and white but decided to see what it would look like with a little color in the window area. Using the Chine-colle' technique, I first tried a Japanese paper but the color was too strong. I ended up using Rives cream colored printing paper and was happy with the subtle hue. Check out http://en.wikipedia.org/wiki/Chine-colle' for a quick description of chine-colle'.

Things on Hold

2010-09-07T16:30:00.000-07:00

Aah September. The days are cooler, the sun sets earlier and you know fall is just around the corner. September is also the time to pick up the pace, after a laid back summer of heat and humidity, and take on new challenges.

I've been away from the studio for the past few weeks enjoying summer's end down by the shore. Studio projects were placed on hold but I'm hoping to get back in the studio next week, to see if I can bring something to fruition.

Right now, I'm feeling a little nervous about not having the time to focus on my studio practice. You see, my husband and I are about to undertake a huge project; tearing down and rebuilding the family cottage that my father-in-law built over 62 years ago. Our summer has been focused on designing the new space and getting the necessary permits to move ahead. This week will focus on meeting with various tradesmen to get estimates and beginning the cleaning out phase of the cottage. (So much stuff has accumulated over the years!)

This project is both exciting and terrifying, since I know it will occupy a good portion of our time. In the long run though, the new place will be built to withstand coastal storms and hurricanes and with any luck will last another 60 years or more. Right now I'm just looking at it as one giant creative endeavor and with any luck, I'll be able to divide my time between the studio and this building project. I'll try to occasionally update our progress as the project unfolds.

Still Proofing

2010-08-03T11:51:00.000-07:00

Right in the middle of working on my latest print, I ran out of the ImagOn Pro film that I favored because of its thickness and ability to hold ink. I checked but found that I couldn't find any of the old Imagon Pro for sale. I'm thinking Dupont may have discontinued the film and switched to the newer ImagOn Ultra Rapid.

After receiving a roll of the new film, I found that it's thinner than the ImagOn Pro and exposure times are shorter. This necessitated new step tests to get a feel for the new film.

I find this testing tedious but necessary to get the exposure times correct before I feel comfortable enough to move ahead with the final image.

Great Site for Exhibition Opportunities

2010-07-27T04:19:00.000-07:00

Just recently I came across a fantastic web site called Art & Art Deadlines.com which helps connect artists with exhibition opportunities. http://www.artandartdeadlines.com/aboutaaad/

R.L. Gibson is a working artist and former arts administrator who for years had sent out deadlines for art shows. She has turned her "show list" to blog form where she tags, categorizes and archives the ART and ART DEADLINES by date, media, region and brings it to you free.

When I retired, one of my goals was to actively seek out exhibition opportunities to help provide a framework for my studio practice. I found that it helps to have a specific challenge to provide a focus. By selecting projects and shows that interest me, I'm spurred to action by the deadlines. Another advantage is that I'm branching out and seeking venues outside of my local area.

Art & Art Deadlines is a wonderful way to find shows and get details about upcoming creative opportunities. Check it out.

First Proof Close-up

2010-07-25T15:00:00.000-07:00

Here's the first proof from my initial plate when I was considering the image as a dyptic. The image is a little too dark so I will adjust the exposure time for the negative. (The dot screen exposure seems fine.) When using ImagOn, it is recommended that you do a step test for each image to determine the optimum exposure time. Of course, being an impatient artist, I usually just like to wing it (no pun intended) and see what happens. After I have a sense of how the plate prints, I usually step back and end up doing a step test anyway. The goal it to get as much detail as possible and nice rich darks. I like this image as it stands so I may pull a few prints of just the boxed bird; maybe add some chine colle. We'll see.

I usually print on damp paper but this time I'm experimenting with dry Hahnemuhle Copperplate and Akua inks.

Image Deveopment, Platemaking & Proofing

2010-07-25T14:45:00.001-07:00

Have you ever had an idea rolling around in your head but couldn't find the time to do anything with it? Well, this was the week to try and make some headway. I've had this image in the works for the past month. I had worked up numerous sketches but was unable to move forward with the print because of other obligations. This past week, I finally had the time to get this piece out of my head and onto a plate.

I'm using ImagOn photopolymer film to create the plate. I started with sketches and personal photos. Drawings were scanned, photos altered, and everything was mixed together and played around with in photo-shop. I printed out a few versions on acetate and then scratched into and drew on them until I had something worth proofing. I like to use Stabilo pencils and Speedball Screen Filler to add darks and a variety of scratch board & dental tools to pull out lights. After a couple of preliminary proofs, I altered the image and ended up with this latest negative.

The plates were exposed in my NuArc exposure unit; first to a dot screen and then to the negative. I had a number of scrap pieces of Plexi so I decided to use it as my base for the Imagon. This allowed me to play around with the film and images and if I wasn't happy with the outcome, just grab another piece of plexi. If I was using copper, I would need to strip the film from the plate to reuse the copper and that would take time. The film adheres well to the plexi and the thickness of the plate affords me with a nice plate line.

These are some of the first plates I proofed. I wasn't happy with them so I'll just make up a tray of strong soda ash solution and let them soak over night to strip the film from the plexi.

Originally, I though that I wanted to print the image as a dyptic. These first proofs were separate plates. I taped the proofs together to see how the images related.

These are the latest proofs. Right now, I prefer the image as one plate so that's the direction I'm moving in. My problem is that I'm never satisfied and just keep tweaking things. At some point I'll say 'enough already' and just forge ahead...I hope.

Anniversary

2010-07-16T08:16:00.000-07:00

I just realized that it's been a little over a year since I began this blog. At the time, I was having a bit of a difficult time going from a very structured academic day to the new found freedom of retirement. I found that I wasn't using my time constructively and spent my days floundering from one thing to another; not really accomplishing anything worthwhile. Also, I was missing the daily artistic stimulation that was provided by my students and colleagues. After 35 years of working in a vibrant creative environment, I was adrift in time and solitude and needed to reinvent my daily routine - quickly.

I was very happy when my husband presented me with a laptop as a retirement gift. Once I discovered the art of "surfing the net", I was amazed at the number of excellent sites related to printmaking and began to use my computer as a means to find interesting projects and exhibitions. Just for the fun of it (and I didn't really know what I was doing) I decided to start a blog to record my progress.

On my drawing table, is the just completed edition of 50 prints for the Littlest Print Exchange, which I completed yesterday.

As I look back on the past year, I'm happy with what I've accomplished. I've found a way to add some structure to my day that helps me set goals and keeps me focused on my work. As an added and unexpected bonus, I've met some great artists and printmakers on line that have been inspiring and supportive. I've found some interesting projects and exhibitions to participate in and I'm happy that I've been able to establish a healthy studio work routine. Now to keep it up!

Littlest Print

2010-07-15T17:16:00.000-07:00

The Littlest Print Exchange is a juried trade of tiny art prints. Chris Clark started it last year and artists were invited to submit an edition of 50 prints and in return received a portfolio of 50 prints from all 50 individual artists. http://littlestprintexchange.blogspot.com/ What makes this exchange particularly challenging is the size requirement. They really are small prints!

This year, participants in the exchange are asked to consider the theme of Cliché when producing work for the 2010 portfolio. Paper must be exactly 3” X 3” but the image size is up to the individual artists.

Along this line, I decided to focus on the idea of feminine beauty. Women are constantly bombarded with beauty issues through advertisements, television and magazine articles. What constitutes perfection? How do women “measure up”? The old clichés: “Beauty is only skin deep”, “Beauty is as beauty does”, and “Beauty is in the eye of the beholder” immediately come to mind in this image driven society.

I created a composition dealing with the idea of the perfect pair of jeans, waist measurements and lacing up in a corset to meet the “ideal” proportions. The image was transferred to a sheet of acetate and exposed onto a Solarplate. After printing, I hand colored the measuring tape using watercolor.

My plate measures 2.25” X 2”. This was the smallest intaglio I’ve ever done and it was a little tricky wiping a plate that small. Just to emphasize the small size, I photographed the plate next to a brayer.

Gossiping

2010-06-14T13:24:00.000-07:00

This is the finished print for Print Zero's 2010 exchange. After experimenting, I decided to print the background plate over the plate with the figures. I liked the way the words appear to be flying around the figures as though they're deep in conversation.

I used Akua ink and printed on dry Hahnemhule Copperplate which made the registration easy.

“Who gossips with you will gossip of you” Irish Quote

First Proofs

2010-06-14T05:21:00.000-07:00

Spent yesterday trying different things with the plates. I adjusted colors, ink consistency and the order in which the plates are printed. I'm still not satisfied with what I'm getting so I plan on another day of proofing. Hopefully I'll end up with something I'm happy with before the day is over.

The top image shows the plate with the figures printed over the background plate. This is the first figurative plate I made that was too deeply bitten and caused inking problems because of open biting.

The second proof is the opposite; the background plate printed over the figures. This is the newer figurative plate made using Solarplate so there is more detail and inking is more consistent.

I like what's happening with the text because I'm getting a sense of words flying between the two conversationalists. At this point, the quest is to find just the right marriage between ink, pressure, wiping and plate registration. Back to work.

Registration

2010-06-14T05:15:00.000-07:00

Printing multiple plates requires good registration so this is the system I’m using for this piece. First I placed a sheet of paper, cut to the finished size, underneath the Plexiglass that protects the press bed. One right angle of matte board is taped down, away from where the paper will be placed. A second right angle of matte board will be butted against the first. The inked plate will be positioned against this second right angle and then the cardboard will be carefully removed. Paper is lined up in reference to the sheet under the Plexiglass. I find that this works pretty well and gives me consistent registration.

Plate Making and Proofing

2010-06-14T05:06:00.001-07:00

This is the background plate intaglio inked in a blue gray and then relief rolled in a pale peach color.

The second plate with the figures was intaglio inked in a dark gray. This is one of the old photopolymer plates which is deeply bitten. Even though the plate was exposed to an aquatint screen, there are inking problems because of "open biting".

I decided to burn a new plate for the figures using a new Solarplate and was much happier with the outcome; more detail. Next step is to see how and if the two plates work together.

Exchange Project Underway

2010-06-13T14:01:00.000-07:00

I've been playing around with ideas for an upcoming exchange project and have spent the last couple of days working out kinks. My plan is to use two different plates so I can overlap images. Using a combination of scanned textural drawings, photographs and text, I used Photo Shop to manipulate the images and came up with these negatives.

I found some old photo poymer plates; don't even remember who makes them. I was curious to see if they were still viable and found that they were. As I worked with them, I remembered how they had a tendency to develop too quickly and easily became "over bitten". I went ahead anyway to see what developed.

Visual Nourishment

2010-06-11T09:55:00.000-07:00

I always like to remind people that even though science and technology continues to shape our future, it's art that nurtures our soul. So as my husband was down in DC focusing on the first part of that statement I was with him, immersed in the second.

I spent 4 great days visiting the galleries and museums in our Capitol. It was like a creative booster shot. I wandered for hours through the National Gallery, Portrait Gallery, Museum of American Art, and the Hirshorn; just to name a few. Having done a few body prints of my own, I enjoyed seeing the work of Yves Kline and watching videos of his process.

Favorite artists like Lautrec, Kollowicz, Bartlett, and Dine, along with an interesting array of contemporary artists, occupied my days. The National Museum of the American Indian had a wonderful exhibition showcasing creative work by contemporary Native American artists using contemporary materials in traditional processes.

The serenity of the National Botanical Garden's rain forest provided a break from the gallery hopping and gave me time to reflect. I rounded out the trip with a visit to the majestic National Cathedral and was awed by the craftsmanship and sheer magnitude of this architectural masterpiece.

While in the area, I also took the opportunity to visit the new location of the Washington Printmakers at the Pyramid Atlantic Art Center. Their new space provides a much larger exhibition area then they had when located in Dupont Circle. The building also houses various studio spaces so I had a chance to poke around in studios that were set up for papermaking, lithography, intaglio, letterpress and bookmaking. I was glad I stopped in to visit.

All in all, I arrived home well nourished, both visually & spiritually, with an eagerness to get back in the studio.

Field Trip Time

2010-06-05T14:03:00.000-07:00

Got out of the studio today and took a drive up north and spent a great Saturday afternoon at the Eric Carle Museum of Picture Book Art http://www.carlemuseum.org/ Not only did I get to see a wonderful Antonio Frasconi exhibition and sit in on a presentation about "Printmaking for a Better Planet" but I also got to meet Annie Bissett, a fellow printmaker whose work I greatly admire. It's great to finally meet someone in the flesh that, up until now, I've only been corresponding with in the virtual world.

The presentation at the Carle was about a topic that I've been focused on for the past 15 years, in both my classroom and home studio; safer printmaking. It was presented by Zea Mays, a studio in Florence, Mass. http://www.zeamaysprintmaking.com/ Liz Chalfin, the director of Zea Mays, along with 4 other artists (including Annie), focused on how the rich traditions of printmaking can be honored in today's world of "green" technology by exploring alternative printmaking processes that are safer for artists and the environment. Liz showed slides of the great studio space at Zea Mays and the artists shared their work, processes and spoke about the challenges they faced in switching over to “greener” printmaking methods.

The presentation was followed by a demonstration of Moku Hanga (relief printing) by Annie Bissett. http://www.anniebissett.com/ http://woodblockdreams.blogspot.com/ The photo is a shot of Annie in action. All in all, it was well worth the trip.

Finding time & balance

2010-05-27T06:26:00.000-07:00

I've been very busy lately with travel and various obligations that I haven't had time to invest in new work. I'm feeling pulled in too many directions and unfortunately the one direction I need to head in the most, the studio, has been out of reach. Because of this, I'm feeling a bit out of sorts. I find this happens to me when I'm "out of balance"; that is, I'm not taking care of my creative needs on a regular basis. I need to set up a schedule so that I stop putting my studio time after everything else gets done.

Also, I've decided to take a different direction from my usual way of working and give up control, for an anticipated outcome, and just try to see what happens through "play" and experimentation. Having focused on printing editions, I feel it's time to loosen up and explore the unpredictability of monotypes. So, with this in mind I plan to get back in the studio next week and refocus my direction and hopefully recalibrate my psyche.

Company in the Woods

2010-05-06T07:50:00.000-07:00

Ahhh, spring is in the air and a young turkey's fancy turns to .....

This fine specimen showed up in the woods just outside my back deck, in all his feathered splendor, and spent some time strutting around trying to attract some attention. Quite the sight! Sorry to say that when a female finally did show up, she looked him over and keep on walking. Well, there's always another day.

So Much Rejection

2010-05-04T05:14:00.000-07:00

Well, it's been a time of rejections for me. I sent three prints off to the IPCNY New Prints / 2010 Spring and received word last week that they weren't accepted. This morning I received an email notice from the Center for Contemporary Printmaking that my submission for the 2010 Footprint International had been rejected. It's all up to the preferences of the judges and in the art world, you've got to be able to take rejection.

So, it's back to the drawing board (and the printing press!)

"Every rejection is incremental payment on your dues that in some way will be translated back into your work." James Lee Burke

Another Print "Sketch"

2010-04-27T07:49:00.000-07:00

This 4" X 6" print was created with an ImagOn plate and includes a relief printed texture, watercolor and cotton thread. The image was assembled in Photo Shop using some of my personal photos and scanned lace. I'll call this one "Cradle II". (I like the play on words.)

During my studio spring cleaning, I came across an antique relief woodblock that I had picked up on my travels; probably used to print fabric. I wanted to use an off-set again so I inked up the block and printed it on a sheet of acetate. This allowed me to use the acetate image to apply a second color ink to the intaglio inked main plate.
I like the effect of the relief block over the intaglio plate.

Small Prints

2010-04-27T07:26:00.001-07:00

I've been playing around with images for small prints suitable for exchange projects. I was hoping to send a few pieces off to the BIMPE (6th Biennial International Miniature Print Exhibition) but as usual, I may not meet the mailing deadline.

I'm forging ahead anyway with the idea that these small works will be "sketches" for larger prints. I can easily experiment with images, plate development, inks and layering and work out ideas before moving on to larger plates.

This piece measures 4" X 4.5" and was created with an ImagOn plate inked & wiped as an intaglio in light blue gray. I printed a rubber stamp directly on the plate before printing to create an off-set bull's eye. The second plate is a Solarplate; inked as a relief and printed over the first.

Turbulence

Fabulous Flat Files

2010-04-25T09:05:00.000-07:00

Spring cleaning is underway in the studio. It's amazing how quickly things begin to pile up and before you know it there are so many stacks of paper and prints laying around that you can't fine what you're looking for. So I decided to go on a mission to see if I could solve my print storage problems.

Everyone I spoke to said that flat files were the way to go. However, after a little on line research I was convinced that I was out of luck; the price of a new flat file was over $800 for one 5 drawer unit! I was beginning to consider other storage alternatives when someone suggested craig's list.

After a quick search on craig's list, I found just what I was looking for. Less than 2 hours away in Massachusetts, was a Stacore unit in great condition, with a base, for only $400. My husband and I picked it up yesterday and it is now sitting in the studio ready to be filled. Sometimes lady luck is on your side!

Spring Fever

2010-04-18T13:52:00.000-07:00

Spring is a time for new beginnings and I enthusiastically welcome the opportunity for a fresh start. After traveling and being away from the studio for few weeks, I'm more than ready to tackle new projects. In fact I have so many ideas running through my head that I'm experiencing a creative brain freeze! My plan for the week is to get organized; review the options I have for upcoming shows and exchanges, track due dates and set some REALISTIC goals. With any luck, I'll have a couple of pieces underway by the end of the week

As the old Irish Proverb reminds us, "If you do not sow in the spring you will not reap in the autumn."

Time Away

2010-03-29T12:04:00.001-07:00

Last week I was fortunate enough to spend some time on a beautiful Caribbean Island. Needless to say, it was wonderful to get away from the drab and rainy New England weather, bask in the sunshine and drink in the sights and sounds of a tropical paradise.

As I write this post, it is another gray & rainy day here at home so I'm making it a point to think about last weeks beautiful weather and remind myself that spring is on its way.

Layer 8

2010-03-19T13:43:00.000-07:00

I just finished adding a darker value to my little girdled figure. (The print is only 3.5" X 3.5".) The image has a impressionistic, painterly quality to it but at this point I'm contemplating creating a second plate to add dark outlines. I'll let it sit for awhile before I call it finished.

I did however accomplish what I set out to do; that is just have fun with the process, move along and not worry about the outcome. A few more of these exercises wouldn't hurt.

Print Underway

2010-03-19T09:14:00.000-07:00

Moving right along. Started out with a pale pink and layered on 6 more colors. I'm using Akua Intaglio Inks with a small amount of Akua oil converter to thicken them slightly to facilitate rolling. I like how they're working out and appreciate their slow drying.

Time to stop and access my progress. I'm thinking one final color; darker value.

Getting Started

2010-03-19T09:05:00.000-07:00

This is the set up I decided to use. Since I'll be doing a reduction print, cutting away and printing as I go along, I need to have a good registration system. I decided to employ the same system I use when doing a serigraph.

I punched "dots" out of a scrap of matt board, glued them to another strip of matt board and then taped the unit to my linoleum. Next I punched holes in my paper - in this case Arches 88 - to correspond to the dots on my linoleum.

A window was cut out of a piece of mylar to act as a stencil as I inked the image area.

Playing Around

2010-03-19T04:58:00.000-07:00

I haven't done a linoleum print in awhile. It was my intention to do something different, just have some fun with the process and not worry about the outcome; something that I'm inclined to do. I'm constantly slowed down by my propensity to focus on the message and perfect execution of a print. I tend to toss out prints that don't meet my high expectations. My goal is to loosen up, throw caution to the wind and focus more on the journey and less on the destination. We'll see how this goes.

Working it Out

2010-03-16T07:32:00.000-07:00

Once the proof was dry I experimented with manipulating the print. My goal was to fold the sections flanking the figure in such a way that they could be folded back to reveal the tape measures and at the same time emphasize the idea of being "cinched" in; ribbon was added to hold the folds in place.

It was my intention to work in a 12" square format and have the image bleed off the edges. I thought I had measured correctly but ended up an inch short when the folding was completed. I printed just the tape measure portion of the image and machined stitched it to the right hand edge to make up the difference. This turned out to be one of those happy accidents because the added tape enhanced the composition.

Right now, I'm at a point where I just need to step back and analyze what I have and decide whether or not to continue or chalk it up as an experiment. Although I like the effect of the folding, I'm not completely happy with the way the image printed and I think I will alter the colors a bit. Sometimes I'll try something just to work out the kinks and then end up redoing the entire image. Well see.

Proofing & Experimenting

2010-03-16T07:24:00.000-07:00

I finally had a chance to proof the plates I had been working on. My original idea was to create a print that had some dimension to it by folding the finished print in such a way that it added to the image. This is the first proof; the base plate is a collagraph and the intaglio was created on solarplate.

Collagraph Underway

2010-03-09T10:09:00.000-08:00

This morning I began working on a collagraph plate for the next print in my laced series. For those of you who are not familiar with collagraphs, they are prints created from plates that have been built up using collage materials. They can have very rich surface textures and the finished prints display an embossed quality. Papers with a lot of surface texture, like sandpaper, print dark and smoother papers and surfaces print light. Of course you can achieve all sorts of in between values by varying surface textures and adhesives. I like to use gesso, modeling past, and acrylic mediums to adhere my elements to the plate and as a means to modify values. I seal the plate before printing with a thin coat of acrylic gloss medium. In this instance, I'm using 4 ply matte board as my base. Any sturdy surface will do but for larger prints I use Masonite as a plate base.

I love the tactile quality of building the plate and the unpredictability of the outcome. The often unexpected results you can achieve when printing can be a welcome surprise. As you can see, it gets pretty messy when you get down to business and I end up with my tools covered in gesso. This is where I really appreciate my granite work surface; I know I'll be able to scrape off the adhesives when I'm done.

This is what I have so far. I'm going to give this a chance to dry before I continue. With collagraphs, it's vital that you really, really glue things down well so the plate holds up during the printing process.

Collagraphs can be printed without ink (as embossings), just surfaced rolled and printed as a relief, inked and wiped as an intaglio plate or a combination of intaglio inking with a surface roll over the higher areas. Lots of options provide a wide range of creative exploration.

Planning Stages

2010-03-02T05:55:00.000-08:00

Still have a number of images and ideas rolling around in my head for what I'm presently calling my "Laced" series.

I worked on sketches and images over the weekend and yesterday began to play around with the print size. I worked in a one foot square format for the last piece and would like to do the same with this print. During the planning stages, I got to thinking that it would be interesting to have a print that could actually fold in on itself to create "flaps". Now's it a matter of figuring out the overall width needed to equal 12" when folded.

Karen Kunc Demo

2010-02-27T11:48:00.001-08:00

On Thursday, a friend invited me up to her printmaking class at Wheaton College (Norton, Mass) to sit in on a woodcut demo by Karen Kunc. This was a wonderful opportunity to see the artist in action, hear her discuss her techniques and processes and then view her work in the Beard Gallery.

I have always been intrigued by the unique opportunities that the transferred image affords. Over the years, I have researched and worked in a number of processes and never tire of the technical aspects of the various mediums. I welcome the opportunity to see what "tricks of the trade" others have to offer. Fortunately, printmakers are a very generous bunch who love to share their expertise.

Tear, Tear

2010-02-27T10:13:00.000-08:00

Didn't get a lot done in the studio this past week. I was slightly derailed by a physical discovery on Monday morning, which lead to various appointments and records gathering. Sometimes things just crop up out of the blue and everything else takes a back seat. As I was organizing some work, to keep busy, I came across a piece I did the last time nature threw me a curve ball. Fortunately all turned out well then and I'm convinced that it will be the same this time.

I titled this print Tear, Tear. It's two plates, a collagraph and a photo intaglio, with chine colle and thread. I loved the fact that the same word "tear" had two different meanings but those definitions seemed to be so linked and appropriate at the time.

OK, So I'm a Magpie

2010-02-11T08:48:00.001-08:00

As I was straightening up my studio, I was noticing how many "little" collections have cropped up over the years. I just can't seem to help myself when it comes to picking up or hanging on to stuff. Before I realize it, another collection is born.

I know that I have another container of keys stored away somewhere as well as another box of glasses. There's jars of wishbones, watch parts, and insects and 3 envelopes of moth wings.

As a nod to my love of the Wizard of Oz, I've inadvertently started a collection of hour glasses and if the Tin Man should stop by, well my collection of oil cans would serve him well.

Six antique irons stand ready on a windowsill. They're actually quite useful so I think of them as tools rather than a collection. They're used as weights when gluing collagraphs, collages and books and to hold printing paper in place, on the press bed, when printing multiple plates. I also discovered that two of them spaced just so are perfect when it comes to holding my large roller when I'm in the process of printing.

I've been a Magpie all my life; I can't help it. My collecting tendencies were magnified when I was teaching because I was always looking for interesting things for my students to draw. It was not uncommon for me to drag home some pretty strange things for my classroom and I actually developed quite a reputation for setting up fantastic still life arrangements. (Someone once called me a frustrated window designer.) You can imagine my still-life closet after 35 years of teaching! The kids were often blown away by what awaited them and the best part was that they were inspired and couldn't wait to do some solid observational drawing.

The bottom line is that I need "treasures" around me. I love their forms, colors and textures and find inspiration in objects; not to mention that it makes for an interesting environment. I just need to be mindful of keeping this habit in check.

There's Nothing Like a Good Book

2010-02-11T08:32:00.000-08:00

A few years ago my husband made me this wonderful bookshelf. (He's fantastic in the wood shop!) It's composed of 3 vertical and 8 horizontal planks of wood that slide together and interlock like a giant puzzle. There's no mechanical fasteners used and if you need to move the shelf, you just slide it apart. It's a great piece of furniture and a work of art in its own right.

Lately I've been thinking that I need to do a little weeding out before books and magazines take over completely. (I'm a sucker for art books.) I plan on going through everything and pass on volumes I don't need.

This may turn out to be easier said than done.

Finishing Touches

2010-02-11T08:25:00.000-08:00

Spent the morning punching holes, tapping in eyelets and lacing thread onto my recent edition.

I wanted (and needed) to get the bits and pieces, tools and whatnot out of the way so I could straighten up before starting a new piece; a clean slate so to speak.

Bound

2010-02-06T09:00:00.000-08:00

I just completed "Bound".

I'm happy that I moved the quartet of images from the center of the background and introduced a more random lace pattern. There are two plates. The background plate was inked as an intaglio with a warm yellow and then a surface roll of gray blue ink was applied. The small intaglio plate was inked in a dark blue gray, placed in position, and run through the press.

I finished the print by adding metal eyelets and black cotton twine for lacing. Yellow ocher thread was hand stitched in the central section.

Stepping Back to Move Forward

2010-02-04T09:53:00.000-08:00

The piece I'm working on just doesn't seem to be coming together; it's too static. I've decided to experiment with other options so I've cut up some of the proofs and played around with rearranging the background. I ended up making a new negative, on transparent mylar, that is a combination of a printed lace pattern, Stablio pencil, and Graphic Arts water-based ink. After making a new plate, I'm ready to pull some proofs and see what happens.

Sometimes you just have to take a step back to move forward.

Proofing

2010-01-30T12:04:00.001-08:00

Got out all the inks and began playing around with color combinations for the new print. Not exactly sure what I'm looking for at this point but a little proofing will help get me started.

The two small center plates are inked and ready to proof. Each plate is slightly different and I'm not yet sure which one I'll settle on.

Here's the first proofs. I like the darker quality of the one on the left so at least I have one decision out of the way.

Tried the plate again but with chine colle. This opens up the possibility of introducing another color.

I inked the background plate than used a large roller to apply a surface color. The smaller plate was inked and positioned in the center of the base plate and both were rolled through the press as one unit. I was happy to see that this worked well and was pleased with how the plates print. However, I'm not happy with the colors at this point so it's back to trying other combinations.

Next Piece

2010-01-29T09:48:00.000-08:00

Working on a new print today. Often one piece leads to the next and the last print sparked a few ideas that warranted further investigation. I spent the last few days working on sketches, taking photos and playing out in my mind what I wanted to do. Here are the negatives, ready to be exposed to the plates.

I thought it would be an interesting artistic challenge to break out of the rectangular format, which is usually the norm, and compose within a square. I also like the idea of layering so I plan on stacking one plate on top of another when I print. The main reason I chose to work with Solarplates is that they're thin enough to stack without problems. Here's the plates ready to proof.

Laced

2010-01-13T15:06:00.001-08:00

Oh the things we do; fingers laced and tummy in place. Just finished carefully punching holes and adding ribbon to today's print; "Laced".

The print was created using two plates that were inked up separately, stacked together, and then run through the press as one unit. The main plate is a collagraph with the smaller inset image created on copper using ImagON photopolymer film. I used a bookbinding hole punch to create perfect openings for the ribbon and included a couple of small metal eyelets. A pale pink watercolor wash was added to the girdle.

Reverberation

2010-01-09T13:12:00.000-08:00

First print of 2010 completed. I added sound waves this morning and was happy with the overall effect. It's been awhile since I've done a serigraph; just had this overwhelming need to do something totally different for a change.

The piece was created for an exhibition entitled ECHO. Like an echo, the repetitive figures appear to resonate off of each other as they participate in some mysterious dance.

Serigraph

2010-01-07T11:45:00.000-08:00

I received a call for entries notice from the Center for Contemporary Printmaking (www.contemprints.org) for an upcoming show entitled "ECHO - Repetitive Marks & Images". It sounded like a fun challenge so I decided to do something I haven't done in awhile - a serigraph. I like to use crayons instead of cut stencils to "block out" the the screen so after developing my image, I broke out the Crayolas.

I built the screen the night before so in the morning all I had to do was collect my supplies, mix up some ink and get started.

This is what the print looked like after the first 2 colors had been applied. I began by using crayon to block out the white areas in the image and then printed my first color; a pale gray. The screen was easily cleaned off with water and then more areas of the image were blocked out. I had some Createx color on hand so decided to use that as my ink and I'm printing on Arches 88 paper.

As in any multicolor printing project, accurate registration is a must. I've come up with a system that works great and can be assembled with simple materials. Using a common paper punch, I pop out a few "dots". Next I cut a 1" wide strip of matte board and glue the dots in place with white glue. This strip is taped to the edge of the screen base. I punched holes in the edge of my paper so they correspond to the registration strip. When I'm ready to print, I drop the sheet of paper over the "dots" and I'm guaranteed perfect registration.

My sketch is taped to the screen's base and covered with a sheet of acetate. This allows me to accurately fill in the areas, as the print progresses, while maintaining registration. Since the ink is water based, the acetate protects the sketch during clean-up.

You can see how well the crayon "plugs" up the screen. After I apply each layer of wax, I use a heat gun on a low setting to "set" the wax. This helps it to hold up during the printing process.

The last layer of wax has been applied and the screen is ready for the final color.

Here's the print with the final color. I photographed one of my body prints and reduced it in size using PhotoShop. I liked the repetition of the image and the texture created by using the silkscreen/crayon technique.

New Year; Fresh Start

2010-01-02T06:49:00.000-08:00

A full Blue Moon was such a fitting end to 2009. The old adage, "once in a blue moon" came to mind as I reflected on the past year. Too often, that adage applied to my best intentions as procrastination and distractions got in the way. On the other hand, I did manage to gain a little control over the "freedom" of retirement. I created work that I'm happy with, managed to exhibit fairly consistently, and produced a number of good sized editions for exchange portfolios.

So, I optimistically welcome the new year and the opportunity for a fresh start. I'll set realistic goals, reflect and reassess, and move away from a "should have" / "could have" mentality. This year, I'm striving for consistency and balance; a consistent work schedule for my studio practice balanced with time for "play".

I recognize that like the moon, we all go through phases and there's cycles of growth as well as cycles of rest. It's this ebb and flow that makes life interesting and provides opportunities for exciting challenges and enriching change. Happy New Year!

"Ebb & Flow" (collagraph with photointaglio)

Gallery Holiday Show

2009-12-17T16:21:00.000-08:00

A local gallery holds a holiday exhibition every year called 6 by 6. For a reasonable entrance fee and a 20% commission, artists are invited to submit works that meet the 6" square requirement. The goal is to raise money for the gallery by providing the community with an opportunity to purchase original works of art. Out of curiosity, I decided to participate this year and submitted a few pieces. Because of the economy, I wasn't sure if the work would sell but was pleased to find that a couple of pieces had been purchased. Granted, they were priced at only $35 each but there was something about selling small works locally that appealed to me.

Versacel Plates

2009-12-17T10:11:00.000-08:00

After mentioning Versacel in the previous post I decided to dig out some examples to illustrate its versatility. The image above shows the Versacel plate on the right and the print on the left. The plate has materials glued to it (feathers & half circle at top left) incised lines, and embossed chains and twigs. It was inked and wiped intaglio with a surface roll using Akua inks.

This Versacel print was created in two sections. A rectangle was cut from the main plate and the fish image was drawn using a standard etching needle. The rest of the plate was created by embossing netting and using a metal stamp tool to create patterns and textures. It was inked in two separate sections - the fish inked and wiped as an intaglio and the main plate inked as a relief - then reassembled as one plate and run through the press.

This image shows how delicate lines can be scribed into Versacel to create detailed drawings. The scissors were embossed into the plate and small marks were cut into the plate using linoleum cutting tools. It's a two section plate that was inked, wiped and printed as an intaglio.

Versacel is an interesting material to work with and provides endless opportunities for printmaking experimentation. (I've even applied ImagOn photopolymer film to it. Its make up allows the plate to sit in the soda ash bath with no ill effects.) It's fairly inexpensive, easy to cut, and holds up to the rigors of printmaking; definitely worth playing around with.

Background Plate

2009-12-17T09:37:00.001-08:00

Now that I'm happy with the intaglio plates, I've turned my attentions to the larger base plate that I will use in conjunction with the two smaller copper plates.

A few years ago I came across a material called Versacel. I believe it's used in the sign business and reminds me of a dense form of styrafoam. It makes a great surface to print from because it is very rigid, can be easily incised with carving tools, drawn into with a ball point pen or sharp pointed tool, materials can be glued to its surface for collagraphic techniques, and objects can be embossed into it. The girdle pictured above was embossed onto the Versacel by running it through the press to pick up some of the details of the garment.

My intentions are to add various materials and textures to build up the surface as a collagraph. I plan to ink this as an intaglio with a surface relief roll and then place the copper plates on top to run the whole thing through the press as one. We'll see how this develops.

I purchase my Versacel from Industrial Safety Supply Co.,176 Newington Road, West Hartford, CT 06133-0720 Phone: 860-233-9881. It comes in 4' X 8' sheets but they cut it down to more manageable sizes to ship.

Prior Proper Planning Prevents .....

2009-12-17T09:05:00.000-08:00

When working with photopolymer processes it's extremely important to do test plates to get the light exposure correct for the particular image you're working with. You need to adjust for the density of your negative, the materials used to create it, your particular light source, use of an aquatint screen and the type of photopolymer film or plate. Too much exposure and you burn out the detail in your image and get a very light print. Too little exposure and you don't get enough detail.

Now, I will be the first to admit that patience is not one of my strong points and I love to just jump right in and see what happens. This often works because of my past experience but there are times when an image just wont print as intended and there is no other alternative than to step back and do some exposure tests.

I adhered one layer of ImagOn to a copper plate and exposed it to an aquatint screen. The screen I favor is produced by Elizabeth Dove http://www.elizabethdove.com/screens/index.html. (I met Elizabeth in 1995 when we were attending one of Keith Howard's Masters Workshops in Peace River, Alberta. She went on to do a lot of research with the photopolymer film and is featured in Howard's books.)

I "step" exposed the aquatint screen to light units in increments of 10. After removing the aquatint screen, I placed the image negative over the plate and exposed that to varying amounts of light. This test plate was developed and printed and I was able to determine which exposure, for both the aquatint screen and the negative, worked best for this particular image. I made a new set of plates using the appropriate exposure times and was happy with the results. Now, if I would just do this with each new image I would save myself a lot of time and frustration.

Enjoying the Season

2009-12-17T07:32:00.001-08:00

The end of the year and the holiday season is such a busy time with all the decorating, shopping, baking, and entertaining. It's difficult to follow through on studio projects and it's frustrating for me to lose momentum when I have a piece in the works. This is when I need to remind myself to relax and go with the flow and just take time to enjoy the season and time with family and friends. I know I'll be able to pick up where I left off once things get back to normal.

To get in the holiday mood, I decided to gift my friends with an original print so I spent a couple of days editioning and putting together cards. (It was actually a lot of fun.) The relief print is based on a photo I took of our garden bench when it was covered in snow earlier this month. I was drawn to the serenity of the scene and felt that it really represented the peace we all seek.

May you all enjoy the best the season has to offer!

Plexiglass Plates

2009-11-19T08:01:00.000-08:00

These are the plates for the "girdle" images. They're a little difficult to see but are Plexiglass bases covered with ImagOn. We'll see what happens when they're proofed. I'm a little worried that they may print too dark.

Now that I've caught up on my blogging, it's back to the drawing board (or the printing press in this case).

Using Photos

2009-11-19T07:58:00.000-08:00

I'm always trying to get to something--an image, a color, a feeling--that seems honest and real to me. My work often begins with my own photographic images, but that's just the beginning. I put the images through various processes, working to transform them into something more emotionally expressive. Transformations come about in several different ways: sometimes they're created through deliberate action, sometimes through the very nature of a particular printing process, and sometimes through pure accident. What is consistent is that I'm always looking for that point when what is photographically real remains in the image but finds a new life, vitality and a new reality through the lines, colors, gestures, scrapes, and textures that are layered over that memory. What matters to me in the print, is what that subject matter is trying to express.

This is another multiple plate image; two photopolymer plates and one collagraph strip with lace.Shown here are the negatives I've made and the lace plate below.

I began by photographing myself in an old corset. Images were loaded into PhotoShop and altered. I then "collaged" images to create the second negative. Right now my intentions are to print the plates but leave the lace as an embossing. We'll see how the proofing goes.

Making Plates

2009-11-19T07:29:00.000-08:00

The large plates have a Plexiglass base with ImagOn adhered to the surface. After seeing the proofs, I've decided to add a couple of additional layers of ImagOn to the top and bottom portions of the right hand plate. ImagOn works really well if you are someone who enjoys layering and building up images. The best part is, if you find the plate isn't working out, the film can easily be stripped off so you can reclaim the basic plate.

For the small plates, I'm using roofing copper. The square plate was easily cut to size on my old paper cutter. I wanted an oval shape for one image and had to figure out the best way to get the most accuracy when cutting the plate. My first thought was to grab my jewelers saw and blades and carefully cut out the shape. After some experimenting on scraps, I found that I could quickly and accurately cut the shape using my metal cutters. Next step is to apply the ImagOn.

Maze Image

2009-11-19T07:18:00.000-08:00

I've been playing around with incorporating mazes in my works to symbolize the often convoluted paths we take to reach our destinations. This piece has been in my sketches for awhile, just pulling at the edges of my mind, so I needed to get it out; soon.

I began by designing a large rectangular maze. Once I had the design in place, I laid a sheet of Mylar over the sketch and then used strips of solid black tape to lay out the image. This in essence created a large transparency that I could use to expose a plate.

My intentions are to use four or five plates to create this piece. Two large background images, one large wood block to create texture and color behind the maze plate and then two smaller plates. With the exception of the wood block, the plates will be phoyopolymer intaglios.

I'm now at the point where I'm contemplating the background proofs, deciding where I need to make adjustments, and whether or not to incorporate chine colle for the smaller plates. Lots of decisions at this point and since there are so many "pieces", all I can do is spend a few days experimenting with my options.

In The Works

2009-11-19T06:59:00.001-08:00

I've been playing around with a couple of ideas and working out sketches for the past few days that deal with images and themes that crop up in my work. As I work, my goal is to keep alive spontaneity and the original intuitive impulse as I search for elegant solutions to creative challenges. Because I enjoy layering and piecing together plates, there are times when I'm never really sure if the piece will succeed or if it will have to be scrapped completely. If I'm successful, hopefully, the unexpected results will speak of dimensions beyond my original intent and lead to revelations about feelings and ideas.

Relaxing Evening

2009-11-17T18:50:00.000-08:00

Got up early this morning and was at work in the studio by seven a.m. Managed to get two plates ready for proofing, paper cut to size and a few works prepped for a show. The best way to end a satisfying day is to sit out in the yard and watch the crows put on their daily show as the sun sets. Then sitting by the fire with some excellent sipping rum puts the finishing touch on a perfect day.

Six for NAC Gallery

2009-11-17T17:28:00.000-08:00

Six by six ready to go. Since I've never participated in this kind of holiday show, I have no idea what to charge. The gallery charges $20 to submit 6 works and will take a 30% commission on all sales. Charge too much and the work won't sell, too little and it won't be worth it. Any suggestions?

Holiday Sales

2009-11-17T17:16:00.001-08:00

This is the time of year that a lot of galleries hold holiday sales and my local gallery is no exception. The only criteria is that all work must be no larger than 6" X 6" and ready to hang. The gallery's goal is to encourage folks to consider original works of art and crafts when doing their holiday shopping. I decided to give it a try and spent the morning rounding up a few pieces that fit the guidelines.

After breaking out my shrink wrapping supplies I needed to come up with a way to make the pieces "ready to hang". Good old duct tape and a hole punch did the trick. Add a little wire and the job was complete.

Decisions, Decisions, Decisions

2009-11-10T13:10:00.000-08:00

After refining sketches and creating a number of plates, I've been proofing and trying out various configurations and color options. I reworked a few of the plates because they just wouldn't print as I had intended and I wasn't happy with the images. I'm happy with some of the new individual plates but not yet satisfied with how they relate to each other. When it seems as though I'm just "running on ice" I find it best to clean up and pack it in for the day. I'll start fresh in the morning and hopefully things will start to come together.

Recalibration

2009-11-04T06:54:00.000-08:00

"In art intentions are not sufficient ... What one does is what counts and not what one has intentions of doing." Picasso

I am reminded of this quote whenever I get to that point where I have too many projects and/or ideas "in the works" and I find myself flitting from one to another but never following through on any one in particular. It's paralyzing and something that I find happening more, now that I'm retired. When I was working and had a hundred and one things to accomplish in a set period of time, I didn't have the luxury to second guess everything. It was get it done and move on or there would be consequences. I took pride in the fact that I always managed to be creatively productive, throughout my career, and made it a point to participate in exhibitions on a regular basis. (I sometimes wonder how in the world did I manage the responsibilities of being an artist, wife, homemaker, mother, and teacher!) What can I say other than I'm the quintessential type A personality!

When I was young, a high school art teacher admonished me for always having "too many irons in the fire". As I look back on my life, I have to chuckle because that has stuck with me and was such an accurate assessment. But then again, I need to ask - Is that such a bad thing? I think that I just need to recalibrate my way of thinking and be more realistic in my expectations. Maybe it's just taking me longer than I realize to shed that sense of constantly needing to meet demands on a set schedule. (I can be my own worst enemy at times!) I need to remind myself to relax and go with the flow; enjoy this new stage of life and focus more on the pure joy of the creative process rather than feeling the need to constantly produce. If I can accomplish this I know I'll be less "hardpressed".

Sketches & Plate Making

2009-10-28T09:56:00.000-07:00

After playing around with some sketches and ideas, I began experimenting with my reduced body prints using PhotoShop, to manipulate the images. I settled on a few of my favorites and printed them out on transparencies.

Once I sorted through my photopolymer supplies, yesterday was spent creating plates. I decided to go with Solarplates, for my relief plates and those involving text, and use ImagOn film for the intaglio components. In this instance, I adhered the film to sheets of plexiglass. I also use roofing copper and galvanized metal as plates.

I have three different images in the works so I'll probably spend the next few days just focusing on plate development before I start proofing.

It's exciting to be able to take a large body print and reduce it down to a more intimate format. I'll have fun seeing where this takes me.

Early Body Prints

2009-10-28T09:45:00.000-07:00

This "Mother/Daughter Power Struggle" was printed using acrylic gesso and then color was added using oil paint and pastels. (And yes, I successfully talked my daughter into being inked.)

This is a print collage that includes molded hand-made paper dolls, a transfer rubbing, a body print and assorted collage material.

Revisiting an Idea

2009-10-28T09:29:00.000-07:00

Years ago, I did a series of large monoprints using my body as the matrix. This involved inking myself up and then pressing against a sheet of paper. As you can imagine, it gets a little messy but the results can be fantastic. (I even talked my husband into lending me his body for this project...love is a wonderful thing!)

I found this old Polaroid snapshot (cropped for modesty) and couldn't stop laughing ... or remembering how much fun I had rolling in the ink. When I was covered in ink, it almost felt as though I was wearing clothes!

I experimented with water-based inks and acrylic gesso. I would first rub on some body lotion to help with clean up and then apply the printing medium; either directly with a roller or by laying on a surface that I had inked up. Then I would simply press against paper that was either pinned to the wall or laid out on the floor. The black & white prints were left as is or used in print collages and the gesso prints were colored using oil paints and/or pastels.

I decided to revisit this approach but on a smaller scale. Obviously the monoprints were life sized but I wanted to create smaller intaglio works based on this idea. I did some new body prints and photographed the results which allowed me to reduce them in size. (Now, if only it was this easy to "reduce" the actual matrix!!

Non-Toxic "Bibles"

2009-10-28T07:04:00.000-07:00

I consider these publications indispensable for the printmaker who is interested in non-toxic processes. They walk you through all of the steps needed to create successful plates using photopolymer techniques. When I bought a copy of Keith Howard's "Non-Toxic Intaglio Printmaking" I was delightfully surprised to find that one of my prints had been used in the book!

You can also find quite a bit of info on line. A good place to start is http://www.nontoxicprint.com/

Film, Film Everewhere!

2009-10-28T06:01:00.000-07:00

Digging through my supplies yesterday I discovered that I have 4 different types of photopolymer film tucked away in the studio. I have a little left of the original Riston made by Dupont and used in the circuit board industry (that I carted back from Peace River, Alberta, Canada back in 1995), then I have ImagOn (the follow up to Riston and marketed for non-toxic printmaking), I just finished up my supply of "the new and improved" ImagOn Ultra and I found a brand new roll of ImagOn Pro. Although I don't currently have any on hand, I understand there is now an ImagOn HD (guaranteed to provide better resolution).

It's interesting to see how the film has changed over the years. Along with a great variety of image making possibilities, the film has gone through several stages since I first used the Riston back in '95. Adhering procedures and development processes have changed, resolution has improved and the films have gone from thick to thin and back to thick again with the ImagOn Pro. I just need to keep track of which film I'm using so I follow the adhering & processing recommendations for that particular film. It's also interesting to note that if they're stored properly they have a decent shelf life. I don't store my film on end, keep it in it's original tube and well wrapped in light proof plastic and make sure it's kept in a cool location. I made a special light proof black box for a larger roll of film that makes access to the roll quick and easy.

What I really appreciate about all of the developments in non-toxic printmaking is that this new technology allows me fantastic image-making capabilities without compromising my health, safety or the environment.

A Few Close-ups

2009-10-19T08:48:00.000-07:00

Print Zero Exchange

2009-10-19T08:32:00.001-07:00

Just received my portfolio of prints from the Print Zero Exchange 6 and was pleased to find some interesting little prints. The level of craftsmanship in this group was much better than in previous exchange portfolios. I was also delighted to find that one of the works was that of a former student...small world!

New Beginnings

2009-10-15T13:00:00.000-07:00

Recently, I've had a difficult time focusing on my work because I've been traveling back and forth between two locals. Now that summer is officially over, it's time to settle down and put in some quality studio time.

I have always looked at autumn as a time for new beginnings. I guess when one's a teacher this is an occupational proclivity; new academic year, new students, new beginnings and fresh challenges. Even though I have been retired for 2 years, I still get that familiar stirring in my bones to gear up and start anew. I've been working on several sketches for new prints and can feel that old familiar yearning for new challenges. I wonder where the path will lead?

Keeping in Touch

2009-10-15T12:38:00.000-07:00

I had a wonderful visit with a fellow printmaker today and as I was driving home I was thinking about how important it is to keep in touch with artist friends. It's so easy to stay cloistered in your studio day after day and lose contact with the "outside world". It's refreshing to take a break and get together will someone who has similar interests. We talked "shop", compared notes on presses, processes and techniques, and discussed gallery policies. As an added bonus, it was great to see what he is currently working on.

An occasional visit is good for the soul and I think I'll make more of an effort to take the time to get out an about. Next time, my studio.

New Exchange Prints

2009-10-02T09:28:00.001-07:00

I just received my set of prints from the 2009 Green Door International Print Exchange. It was their first exchange and they did a great job getting the prints back out to the participants, as advertised.

It's always interesting so see what you'll end up with when participating in an exchange. My goal was to try out a few this year and over all, the experience has been positive and a good tool to keep you working.