More Mini-monos

Two more mini-monoprints, a shaggy goat

and Dolly, my woodcut sheep. Both are on my 1.5"x2.25" zinc plate, much smaller than they appear here. It's a fun size. 8-]
I like the squiggly technique on the goat -- fits the subject. I really forced myself to remove ink -- I walked away and came back so I could see it with fresh eyes. Glad I did.
I went with the fur on Dolly, but I could have removed more ink from the body. Also the background texture isn't quite what I wanted. I was going for lighter but I just got muddy.

Loki Monoprint

Just a little monoprint, and I mean little: 1.5"x2.25", the smallest plate I've ever beveled. It's printed on a Japanese paper, smooth on print side, fiber inclusions on other side.

I'm getting better at using the small pointy stomp, the flatt stubbier one, various chopsticks, wrapped and unwrapped, and tapping color back down with a finger (erases the dots). Getting better lights and darks. Need to work more on the shades in the middle.

Laurels vs Pelicans

War of the Lilies XX: Laurels vs Pelicans
woodcut 4.25" sq. on 5"x7" cream paper.
Largesse for the Royals to take to Lilies.

Sun Flower

Sun Flower -- solar flare


Woodblock, 4.5"sq. Turned (variously: quarter, half, three-quarter) and double printed, first in black, second in blue/black. I wanted to see movement and I think I've got it.

Another Watercolor Umi

paleo-umi

Another watercolor version of Umi.

Yellow Hippo

yellow hippo, 4"x6"
Another colored hippocampus. This one is brighter than the limey one.

Lime Hippo

hippocampus, watercolor crayons, 4"x6"

Another watercolored sea horse.

Paleo Umi for Will

Paleo-Umi, woodblock & watercolor crayons, 9"x12"

Hippo birdie two boo! 8-] The background is more turq.

Puffins on Plexi - Stage One

Here's a print of two puffins traced in watercolor crayons on plexi. The image is from Mandelsen's photo art catalog. I'll watercolor it further to see how much it'll take to flesh out. It was easy to do.

Cat & Mouse, Take 2

cat & mouse2
Another print, this one a little dark. Still playing with the watercolor crayons. 8-]

Cat & Mouse

medieval cat & mouse 4.5"x5"
This is a light copy of a drypoint that I watercolored. The cat and mouse are taken from a medieval manuscript. I'm using watercolor crayons. Nice colors, easy to get saturation.

Blue Hippo

Hippocampus w/ watercolor 4"x6"

This was a lighter print, so I thought I'd try a little watercolor on it. I used watercolor crayons on the water and then wet it with a brush. Works well I think. I used 4 or more colors of blues and greens.

Next time I'll try watercoloring the whole print.

Mudd Block2 Print

Mudd block2 print, 5"x5.5"

This is a print in progress for Will's Graduation. It's an interesting effect -- first I printed the block in black, then cleaned the block (ran it thru the press on newsprint, as usual) and inked it up with a reddish brown I mixed from black relief ink, yellow and vermilion. When I printed the block on a piece of mulberry paper Jim gave me to play with, a tad bit of the black showed thru the brown.

I did something similar going from a failed gold/brown experiment back to black. I like the dimension this adds to the process. (Same thing happened when printing the Umi block for Will, and most especially the Phoenix block.)

Still have some detail to add to the tankard and the date to add to the ribbon.

Cat & Mouse Drypoint

Cat & Mouse copper drypoint print, 5"x5.5", from a medieval manuscript sketch. Background is a variation from other manuscripts. Lots of plate tone, but at least I'm getting the critters darker. Lots of cross hatching. A ways to go, but getting there. My first drypoint with any life in it.

Hippocampus Block

Hippocampus 4"x6"

My latest demo block, a hippocampus or sea horse. The demo went well, tho the wyvern was still the favorite print. It works best when its well inked, or the sea horse tends to blend into the background. I may carve a little more tomorrow.

Medieval Wyvern

Medieval Wyvern

Here's a print of my demo block. The school demo went very well and I think I printed a good 50 prints. I used the back of a wooden spoon, which covered more evenly, tho a smooth rock did burnish more easily. I have since made prints with a student baren, which covers the best, tho takes more pressure than the rock or the spoon.

Wyvern Block

This is a block I'm working on for a Past Times school demo. It's a wyvern, 5"sq., based on a school decal. I'll be filling in the outsides with decorative patterns from medieval illuminations. I'll ink it up and print it using the burnisher method or the mallet method, I haven't decided which.

The Forrest Grows

More viscosity monoprints. Yellow first, then red -- wipe background -- finally blue. First one is very dynamic (also early in the day). ;-j

Viscosity Monoprints

tree & moon 1


tree & moon 2

Blue straight, red with burnt plate oil, yellow with miracle gel. Yellow repels other two, so I do the moon first, then blue, then red. On second print red was already adulterated with other colors, so it leans toward maroon. Still looks interesting. These are ATC size, currently on 5"x5.5" paper.

The Real Me

Ok. Another try at a portrait monoprint. This time I stippled with a small stomp. I sanded one flatter and wider to do the snakes. Interesting technique. Mindlessly dotty, so to speak. I'm sure I can get it lighter next time. This was fun.

Be My Valentine

This is a monoprint I did in class yesterday. It's from a photo from our college days -- lo those many years ago! This is my first attempt at people. Gotta work out shading. I like how the blouse turned out. Remember peasant blouses and skirts? Remember waistlines?!

I'm giving it to Bill for Valentine's Day. He won't recognize himself with all that hair.... ;-j

Winter Solstice, Chine Colle

Here's a chine colle print of my winter solstice block. Kewl process. The chine colle paper is gauzy with gold and silver flecks, which is really all that can be seen. It has a bit of texture tho. Rather odd -- not sure what it's supposed to be like. Seems a little rough. But I have a lovely embossing from having wet the paper (chine colle was applied dry). This has possibilities! 8-]

Paleo-Ho-Ho!

Paleo-Ho-Ho! 4"x6"ish

Psuedo-print -- block scanned, reversed & gray-scaled. I meant to have this finished for xmas, but I'll have it for next. I've done this theme in drypoint and reworked it, but I haven't been happy with it. I think it lends itself to woodcut better. Has more movement.

I get a kick out of my "hand print" motif done in mittens. ;-j

Winter Solstice -- Psuedo-Print

Winter Solstice psuedo-print -- that is to say, it's the block scanned in, reversed and gray-scaled. It's what a print will look like once I print it.

This is the new block I carved for the ssnw exchange. I decided to use the Freya print for the year-of-the-dog exchange print exclusively.

Printing Process -- Umi

Here is the inked block and the finished print, a three-color viscosity woodcut.


Tapping on thalo blue mixed with miracle gel to repel other colors.


Rolling on yellow, red in turn, also of different viscosities that will allow each to print.

Printing block face down on dry print paper. See slats to hold roller off print bed.
Cranking through the press with slow, even pressure. Lifting the block to reveal the print.

Not Even a Mouse

This is a woodcut, roughly 4"x6", from a blind contour of Freya on the couch.

I mixed up a light brown w/ miracle gel and tapped it onto the block. I then rolled the block in a thalo blue (w/ a tad of white). Then I tapped on some black.

This is one busy little block this Christmas. First of all it's my class exchange print (fortune cookie: appearances can be deceiving). Then it's going to by our Christmas card, at least for a dozen or so. And then I've signed up for a Solstice exchange, and that can run as much as 35! And of course it's my card for the Year of the Dog. No wonder Freya's sleeping -- she's exhausted. ;-j

Paleo Umi Prints

These are some of the first prints of my Paleo Umi block. Thalo blue w/ white (the blue was giving my trouble, so I punched it up) was the last. The blueish-grey was the first -- the blue would not sit on top of the black. The reddish and greenish ones were attempts at viscosity prints, but as I wanted the blue to be dominant on the dragon, it wasn't working well. Had I wanted to wipe the blue instead, I could have gotten a brighter dragon I'm assuming. I'll be trying that next.

I want to make a blue dragon, red hand and somewhat mixed or neutral background. Still working out the logistics.

Umi Block

Woodcut block for Paleo Umi, 9"x12". I'll start printing it tomorrow in lab. It's Will's Umi, but I'm also using it for my final exchange, the illustration of a fortune cookie: appearances can be deceiving. Appropriate as Umi is a shape-shifter.

I'll run this past Will to be sure, but I believe Umi is supposed to be blue with silver/white down the back. Also a blue jeweled eye. I made it faceted and it can be hand-colored.

He left it up to me, but I decided to go with the various elements of a Japanese dragon -- fur down the back, horns, whiskers. I believe he said three claws, but I went with that for esthetics.

I'm particularly proud of the gesture. I looked at a lot of dragons before I happened upon the pose I wanted. I modified it to my purposes. Also the woodblock was serendipity -- it had the circular water pattern I wanted to imply.

So this is my interpretation of a Paleo Umi.

All Done... 8-]

The block is done. I printed the last 4 prints today. This one was very labor intensive as you can see. All that light blue had to be blotted away before I could print the block. I suppose I could have made myself a template to mask that area, but I got pretty good at cleaning it up. Baby powder helped.

I had less to clean up once I stopped inking the whole block with a large brayer and worked with a small one on just the blue areas. But of course I was nearly done by then. ;-j

Well. My first retired wood block. I haven't quite figured out what to do with it. Put a hook on the back and hang it up? Too bad I have zero wallspace in my studio.

Ta-Da! Final Printing

Ok! Here's Letting Go, my reduction print. Three colors plus white: yellow-orange, alizarine crimson, thalo blue (w/ a touch of white for opacity -- I was getting more of a black than a blue from the under colors).

Inspiration for this piece stems from a dream I had this summer. This is Will's senior year at Mudd and after that he'll be going out into the wide world on his own. My dream dealt with taking a little Billy to the bathroom and losing him. He didn't come out, so I went in and he wasn't in there anymore. My dreaming self realized he was out in the wide world all alone and I'd never find my little boy again.

Talk about getting hit over the head with the clue stick. :-j So I began planning a woodcut to commemmorate the impending event. And not just any woodcut but a reduction block, so that when the print is done, the block will be also.

A cathartic experience.

There are 16 prints in all (still printing the last few), but not all of them are what I'd call good. So the final edition may be smaller. Just so long as there is one for Will and one for me. ;-]

More Carving -- the Last?

Ok. I believe this is the last carving session. I may have to tweak something after I test print, but it's basically ready to print the final color.

Carving Away

Almost done with the last carving. Carved away the hands, highlighted the sleeve, carved the hinge, working on the background for the blue man, gave grain to the hinge end of the door, and am enlarging the stars.

I should be able to print the 3rd color tomorrow -- Wed. at the latest.

2nd Printing

Color #2, alizarin crimson. I decided on stars for the "wallpaper." I've carved away the hands, etc., and am almost ready for color #3. So far so good. 8-]

New Look

Changed the look of my blog to Scribe. Just seeing what I can do with it.

Blogs Illustrated

Blogs Illustrated Join List Previous Next Random

I'm not sure how this ended up here. It's not where I intended it to go. Oh well.

Still Carving

This is the 4th carving, more detail. I've been printing samples with varying success. I was trying for a transparent red, but it turned out to be way too tacky. So I'm back to straight aliz. crimson. I can eliminate the markings on the door panel by using a guide along the left side when I'm inking, and blotting away any ink that hits the block. Baby powder helps with this as well. Not a problem.

I was about to print the second color when I remembered I had to carve the first pass of the wallpaper. Then I had a crisis of design and hit the books. I was paging thru a Pre-Raphaelite book and was thinking of checking out William Morris as well, when I started noodling around with vines and stars and stuff. Much more noodling, including a session with pumpkin spice coffee at Java 'n Jazz, and I believe I have my design.

Yellow stars with red rays on a blue field. Blue may turn out more purply, have to see. But the centers of the stars will be yellow with yellow rays interposed with red ones, which will transition into blue on the final printing. (See Once In a Blue Moon for an idea of the stars.)

So that's where I am at the moment. 8-]

Next Carving

Carved away pattern on door, highlights on hands, hinge. I'll test print it on Wed., carve more if necessary. Then do the second printing in transparent aliz. crimson.

Under the Tuscan Moon

Viscosity monotype, 4"x4". An attempt at a Tuscany style print. On the dark side.

First Printing

I bit the bullet and printed the first color of my reduction print, a yellow/orange (process yellow, vermillion relief ink). I printed 16 1/4 sheets (11"x15") Arches cover, dry, 2/10 setting on the relief press.

Next stage: carve away the door, cut hatch lines into hands for lighter tone, carve away light areas on hinge and hatch lines for shading.

Possibly also: carve first botanical pattern into wallpaper.

Second inking will be alizarin crimson in transparent print base.