Yellow Roses
Each numbered, signed, and titled on A4 size Awagami Paper and inked in Caligo.
A free-spirited everblooming rose bush flaunts her yellow blossoms. Fallen rose petals scatter in my garden, while new buds begin to flourish.
Roses emerge and dissolve in Yellow Roses through blending effects in reduction carving methods and properties of a limited monochrome palette in process yellow.
Working in a small batch of only four, this limited-edition woodcut has four inked layers: process yellow tint, process yellow, process yellow shade, and black. Uniquely to this print each impression results in a slightly lighter version than its prior, owing to the final black layer processed as a ghost print. While printed in a traditional reduction method, each print is unique due to the interaction of color between the final ghost black layer and prior yellow layers.
Cyanotype Beginnings
The cyanotype process is appealing to my work because like woodblock printmaking, the final results are revealed through natural elements in collaboration with the artist’s hand. I picked up a few new cyanotype tricks during a recent virtual workshop presented by CCP. Since the workshop, I’ve been experimenting with best practices to understand the process and control the medium for future work.
Cyanotypes start in a dark room with an application of ferric ammonium citrate and potassium ferricyanide. When exposed to UV light, there is a reaction. Blocked exposure result variated negative space according to opacity and contact.
results from one of my first cyanotype experiments with pepper slices from my garden
Once exposure is complete, the print is rinsed in a bath. Watch video-lapse below as blueprint develops.
Shattered Glass at BDAC
After participating in occasional exhibitions at Blue Door Art Center over the course of the past few years, I am happy to join the Blue Door Artist Association. Currently on exhibit are four of my paintings and one of my large reduction woodcuts at their glassworks exhibit, Shattered.
Memorabilia Print on Stretched Linen
Printing with found objects
I was handed gorgeous antique keys and asked to make something with them. The keys belonged to a family/friend who recently passed. His son gathered them as he cleaned out his father’s home. I was honored to be trusted with these sentimental items.
That being said, yes the paint comes off metal. Immediately after finishing the painting process they were rinsed then soaked in soapy water. The patina did not change and they look the same as they did before. Take a look at the How-to video of Antique Key Print.
Supplies:
Fabric to print on – cotton, muslin, unprimed canvas, linen
Objects to print with (ie antique keys)
Hammer or mallet (for pin stretcher bar pins- optional)
Flat headed screwdriver
Pliers
Pencil with eraser
Scissor
Scrap cardboard to make a tracing shape template -used cereal boxes are easy to cut
Towels for padding – old, but clean. They will likely get paint on them
Measuring tool- for centering
Paintbrushes – one for applying paint to object, and another fine brush for personalizing or signing the work
Disposable paper plate or cup- for paint
Staple gun & Staples
Iron
Here are a few tips for making this a success
Prepping the support:
The stretcher bars kit comes with directions if needed. Using a hammer to push in the pins is optional; they can be pushed in by hand.
The Sketch:
When drawing on the fabric, draw very lightly. The pencil does erase, but may create pilling, or fabric fuzz. That can make the final piece look messy. A fabric shaver helps fix that.
The arrangement:
Pre-plan the arrangement of objects within the shape. Otherwise the design could come out uneven or with empty spaces. If there are empty spaces try printing half of the object to fit the space. This tip worked for a few areas in the video.
Printing:
Applying paint is a messy job. Make sure to wash and wipe hands between each key print to avoid smudges and unwanted marks. Avoid working over the project- paint drips. Once the paint is on the fabric, don’t try to wipe it off. It is easier to start over than to clean a mistake. Make sure paint is 100% dry before moving onto the next steps.
Stretching the Fabric onto Stretcher Bars:
Before fixing the fabric to the frame, iron out creases. If your fabric looks too transparent on the support frame, double up the fabric by adding a layer behind the design as seen in the video. Making sure the design is centered on the frame is crucial. Measure, re-measure, then measure by eye. Start stapling one side at a time with few staples in case adjustments need to be made. Staples come out with a flat-head screwdriver and pliers. Pull the fabric taut and evenly. Pulling too hard or unevenly will cause the design to distort.
There are a lot of steps, but is a fun and straightforward DIY project.