More Murri

He's just such a fun subject to work with.

So, continuing with the theme of turning digital sketches into block prints:

Lounging
MDF block print, Dremel carved
Daniel Smith water soluble inks on grey Rising Stonehenge paper
© Amie Roman

Sitting
MDF block print, Dremel carved
Daniel Smith water soluble inks on grey Rising Stonehenge paper
© Amie Roman

Go with the Flow

I am pretty sure that my Exposed print is of sufficient value to cover the "cost of entry" to the Oceans of Art exhibition at the Nanaimo Art Gallery, opening reception on Thursday June 11, 7-9 pm; however, I also thought that a few smaller pieces may be appreciated, as it can sometimes be difficult to sell large pieces.

I had done a sketch of a piece of kelp (Macrocystis) that I'd photographed on Brady's Beach that I've had sitting in the back of my mind since I did it, with the intention of a reduction cut.

I started off with a yellow ochre layer (didn't photo it), then later did a separate set of prints with a blend (rainbow) roll using yellow ochre, carbazole violet, and phthalo green:

Flow II
MDF block print, Dremel carved
Daniel Smith water soluble inks on green kitakata paper
© Amie Roman

and then for some reason, printed the remaining ink on the block (not reinking the block) over the ochre layer and got this:

Flow I
MDF block print, Dremel carved
Daniel Smith water soluble inks on green kitakata paper
© Amie Roman

After I finished enough prints for editions for those two, I decided to mess around a little and ended up with these two monoprints:

Flow VI
MDF block monoprint, Dremel carved
Daniel Smith water soluble inks on white Rising Stonehenge paper
© Amie Roman

Flow VII
MDF block monoprint, Dremel carved
Daniel Smith water soluble inks on white Rising Stonehenge paper
© Amie Roman

Then I got to the part that I'd really intended all along! I carved another layer for the reduction (only one; I wanted to keep it very simple). I printed over some of the Flow I prints (but kept some set aside for their own small edition):

Flow III
MDF block reduction print, Dremel carved
Daniel Smith water soluble inks on green kitakata paper
© Amie Roman

And then, of course, had to print over some of Flow II, too (also setting aside some of them with only the first blend roll for their own small edition):

Flow IV
MDF block reduction print, Dremel carved
Daniel Smith water soluble inks on green kitakata paper
© Amie Roman

This second, carved layer was also a blend roll, but subtle to see, except for in the edition I did on its own:

Flow VII
MDF block print, Dremel carved
Daniel Smith water soluble inks on white Rising Stonehenge paper
© Amie Roman

There are so many things about this series that I'm absolutely tickled by:

1. The simplicity of the carving is exactly what I had wanted to achieve, and very effectively reflects the gorgeous lines and shapes of the Macrocystis frond that I'd sketched.
2. The success of the rainbow roll in capturing the oil-slick colours of a slightly decaying, washed up piece of kelp on the beach.
3. The subtleties in value contrasts between II and III which again, really captures the ever-changing colour shifts of a washed up piece of kelp on the beach.
4. I got to do a series!! And I played a lot, both with the colour and the printing.

Plus, my baby press is an utter jewel. Love it!

Oh, yeah, and I'd just invested in a set of Foredom ceramic rotary tips for my Dremel tool, and they are absolutely fabulous for carving the MDF in the way I want to.

As you can see, I had a very productive couple of days last week. I won't be donating each of these, but I'll pick a couple to frame up and add to the show.

Now I'm going to be away from the studio for at least another week or so, but hope to get back to it when I return, as I've got lots of ideas that I'd really like to work on.

Maria Arango - Prolific Printmaker Extraordinaire

Thanks to Maria for the link to her image "Moon Shadow".

I think that I found Maria Arango's work originally through a link on Wet Canvas to her 1000 Woodcuts page. I first "met" Maria online when I belonged to the Baren forum discussion group; I don't think she and I have ever exchanged words, but she was (and likely still is!) an incredible coordinator for the Baren printmaking exchanges.

Maria is a talented and incredibly prolific printmaking artist whose main focus is woodblock printing. She set herself a goal almost ten years ago to create 1000 woodcut prints. She's got over 250 posted on her page, and is still working away. You can even subscribe to her updates.

Maria keeps busy with not only printmaking for herself, but also with attending art festivals, teaching workshops, and of course, getting involved in complex, time consuming projects! One of her recent masterpieces of coordination was the Baren Cairn project (I have linked to the beginning of the project diary; scroll all the way down to the first post and read upwards to get the chronological story). Each of I believe 76 participants received a carefully and uniquely cut jigsaw piece from a huge sheet of plywood, and were instructed to be creative and contribute an image with the theme of "Cairn" on their minds. The resulting print was 64.5"x29.5" in dimension (if I got the calculation right!!); check out the participant key showing who did which block.

Not only does the final Cairn edition represent work by many talented contemporary printmaking artists, but it illustrates how printmakers are such keen and enthusiastic collaborators, willing to co-ordinate with other artists to come up with something that is so much greater than just the sum of its parts*.

Thanks for the inspiration in productivity and creativity, Maria! I always look forward to what you come up with next!

* A similar project that I'd linked to about a year ago was the Periodic Table of Elements project, coordinated by Jennifer Schmitt