Further Printing - "Exposed" Block Print

Well, after some challenges yesterday, the challenges continued this morning. I received some excellent direction from fellow printmakers with much more experience than I on Wet Canvas. Taking some of those suggestions on, I did manage some better success this afternoon after switching to Faust AquaLine water-soluble inks, still on the kitakata paper. I don't know why. They are more transparent (as discussed with Becky Heimann on Inkteraction), which makes building up darks somewhat more of a challenge. But, the print seemed to go better, and although I did get some "push", it wasn't as bad as with the Daniel Smith inks seemed to get.

Some details:

Anyway, a printmaking friend of mine who's seen my press sent me extremely detailed instructions to set the roller height from scratch, so I shall print those off and give that a go. I've never used an etching press, so I desperately needed these!

Next I'll try a blue black on white paper. The paper will be heavier, so overall the result will be different.

Large Block Print - Printed!

So after returning from Bamfield, Dave & I had a nasty, awful flu/cold for two whole weeks. The little time I was in the studio, I was definitely not up to carving that large block of MDF started in January. Then I got back to the studio recently, and worked steadily on the carving, to have it complete last night (yay!).

Murri investigating the carved block this morning

Close ups of the carving


This morning, Mom & I reorganized the studio (finally) so that it is laid out more usefully, and with better space.



So I took advantage of the better layout and inked up the block tonight. Mom helped me to pull some proofs; I'm having difficulty getting the pressure right on my etching press, mostly because I don't know what I'm doing. So this print was hand-burnished after going through the press, to make sure the transfer of the darks was uniform. This is a blend of carbon black and burnt umber Daniel Smith water-soluble relief ink, on natural kitakata paper.

(the above is a craptastic photo; it's supposed to be a natural buff paper with a dark brown ink)

We will be mucking around with the pressure again tomorrow morning.

Plus, I got to break in my new Takach brayer. I am in love!

Fruit Alphabet Exchange Spoiler - Part 3

I have finished the last two colours on the print! They look pretty darned good, but were a little tricky to do simultaneously. Worth the fiddling, though, because now it's done!!

Keeping with the lighter colours that I'd started with printing (rather than the bold ones from the original design), I did a light, spring green and a slightly light orange-red.



Rolling up the two colours was mostly easy, with a few places I had to be very careful where the brayer went on the block. The final little dot of red on the tip of the crown was added by just dipping my fingertip into the rolled out ink on the slab and dabbing it onto the block at the end of the roll up.

The alignment continued to work really well for this print; most of what I printed are worth keeping from an alignment perspective (a nice change from my last exchange print for Four Oceans Press!). You can see on this photo that there's a lot of "noise" on the block: areas which are proud enough to catch the ink from the brayer.


When hand-burnishing, this can be very challenging to avoid and/or clean up. When printing with the block placed first onto the press bed, then the paper on top, the "noise" can get picked up as the press somewhat shoves the paper into the recesses of the block. This technique of placing the paper on the press bed, then the block on top, eliminates the worry of picking up accidental ink from the recessed areas.

So I'm quite pleased overall with the final image:



I took a course on composition this past fall with Lalita Hamill (who is, by the way, a fabulous instructor and very knowledgeable about composition) through the Federation of Canadian Artists. We discussed the use of colour as a design element: a tool to help the viewer's eye be led around an image, or be drawn to a focal area. Red is for areas of focal interest, yellow helps to move the eye around, and blue can be used as a boundary, or rest area for the eye, or as a contrast. Of course, these are huge generalizations, but they're interesting to keep in mind.

I tried to thoughtfully utilize colour in this image. Part of the colour choice was, of course, related to the subject matter: for example, in order to symbolize Quebec with the fleur de lis, the colours really needed to be white and blue. Do you think that the colour use in this piece helps to move your eye around it? What do you find that you look at first? How about the path your eye takes around the piece?

One of my favourite uses of colour in this is the touch of red in the quince; that little hit of warmth, as well as the fact that the only bit of gradient carving occurs there (everywhere else is solid colour block), helps to bring attention to the quince, which is, essentially, the point behind this piece. The queen's direction of gaze also draws an imaginary line to the quince, another device to draw the viewer's eye.

I find this piece quite fun. There's a lot of stuff to keep you interested. All of the symbols that I ended up using for Q were:

Quince (of course!!)
Queen
Quill
Queue (her braid)
Quercus (oak leaves & acorns)
Quilt
Question
Quebec

Did I miss any? I hope the participants in the exchange enjoy the print in their collection as much as I enjoyed developing it.

New Press

So the new (to us) press is finally installed. And I'm no where near it to take advantage, sigh. Ah, well, at least I have the baby press at home to play with, and I actually have some time this weekend to do some art, amazing though that sounds.

And I have some new ink colours to test drive, care of Faust Inks. They have asked me to give these new colours & new formulation a test and let them know the results. Well, unfortunately, the new inks have been sitting patiently waiting my efforts for at least a month, so it's about time I got off my duff and slapped some ink on that brayer!

Blogging elsewhere

So you've noticed that I've been silent for a while. Again, mostly work related, and free time has been taken up with other stuff, being summer and all. And active work with the Federation, too (check out the new website, which is still a bit of a work in progress). But I have been doing some blogging elsewhere: tune into the Printsy blog on Monday, July 7 for my interview with Sarah Spooner & Jon Gregory of Lapwing Printworks. I've also been helping with a little blog admin on that site - anyone who's not so comfortable with blogging, I've been posting their interviews for them. That takes a surprising amount of fiddling, because I like to try to get the image links from their original locations on Flickr or other website, rather than re-saving the file & loading through Blogger. I also prefer to provide appropriate references (e.g. titles and alternates directing to the original site), to increase traffic back to that person, rather than looping in on Google's image bank (for those of you who don't blog, those last bits were likely a complete haze of nonsense).

Oh yeah. And I bought a press. Details to follow!