This one is so new it is not even signed yet! Just printed and published by Brent Bond and his marvelous and incredibly busy Santo Press, this 3-color reduction lino print was both laser-cut and hand-cut. It also has some offset hand inking using sheets of wrinkled wax paper.
While trying to come up with an unusual background texture for this print, (and many failed attempts) I was inspired to create an unusual way to crease the wax paper. It dawned on me that I could try creasing the wax paper the same way silk is creased to form wrinkles in Shibori textile dyeing. This provided an unusual and delicate pattern on the wax paper which I call Shibori-esque. I rolled a sheet of wax paper on a narrow wooden dowel and then pushed the paper down exactly like the pole-wrapping technique (minus the string) used in Japan to dye textiles.
Brent masterfully incorporated the wrinkles of the wax paper with it’s lacey creases in an overlay of pale yellow on a darker orange ground. This print is the second of what will be a series of three 3-color reduction linocuts published by Santo Press. You can read about Web Mesh, the first print of the series here.
Web Pathway; 2017, reduction linocut; 10″ x 8″ on 14″ x 11″ paper; variable edition of 30; published by SantoPress.
A close look at the Shibori-esque wax paper filled with delicate crinkles and patterns.
Placing the Shibori-esque wax paper on inked plate for 3rd color off-set.
Brent using a roller to offset print the 3rd color. The hand pressure exerted by the brayer causes the crinkled wax paper to push into the ink, leaving it’s crazed, lace-like markings in the ink.
The wax paper is removed, taking away a layer of ink–and leaving the crinkled impression behind. The 2-color print is then run through the press transferring the Shibori-esque, crinkled texture of the wax paper as the third and final color.
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My art is now in every room of the most fabulous new resort in Scottsdale. Andaz Scottsdale Resort and Spa recently opened featuring work by the artists of the Cattle Track Arts compound. Mark McDowell and Brent Bond were both instrumental in getting my work seen and selected by the designers of the Andaz property. I have them to thank for this wonderful opportunity to have Kaleidoscope and a lot of other work featured at the resort.
Kaleidoscope began life as a simple drawing of triangles and lines in a tiny sketchbook. I then enlarged the drawing by mirroring it and flipping the orientation into a larger and more complex symmetrical composition. This iteration of the drawing was made into a series of etchings with Cindi Ettinger of C.R. Ettinger Studio of Philadelphia. Some of the etchings were purely line etchings while others combined line and aquatint in several colors. Additionally some of the prints were hand-worked, adding color and texture through collage and/or watercolor.
Kaleidoscope was selected by the designers of Andaz Scottsdale to appear in all of their 206 guest rooms. The work chosen was a unique print created by hand-painting areas with iridescent copper watercolor, collaging triangles of textured brown Japanese paper and drawing lines with graphite (see image below). I photographed the hand-worked print and digitally manipulated the colors in Photoshop. This provided the Andaz design team with a wide range of color stylings to choose from that would compliment the color palette of Alexander Girard’s mid-century textiles that appear throughout the property.
The four different color stylings of the manipulated unique print were digitally printed (archival inkjet) by the amazing Carlos Mandelveitia and mounted on Masonite board. The Andaz quartet of Kaleidoscope prints are available for purchase unmounted. They may be special ordered in two sizes: Approximately 15.5″ x 24″ and 36″ x 48″. Prices upon request.
Kaleidoscope A; 36″ x 48″, archival inkjet print; 2016.
Kaleidoscope B; 36″ x 48″, archival inkjet print; 2016.
Kaleidoscope C; 36″ x 48″, archival inkjet print; 2016.
Kaleidoscope D; 36″ x 48″, archival inkjet print; 2016.
This is the original drawing made in a small sketchbook:
And a larger study of the drawing mirrored and flipped 4 times:
The unique print selected by the Andaz design team with a detail below:
Kaleidoscope is a series I have been working on for close to a decade. There are many different states of the print in editions as well as a dozen or more unique works. Many may be seen here on my website.
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My newly completed drawing is the seventh in my series of Tessellations all based on a single shape. This one has taken me longer than usual to complete–our Thanksgiving trip to Cincinnati came just after I was about half-way into the drawing. Coming back to it after that time away was hard yet rewarding.
Concentrating on the drawing has taken my mind off politics (UGH!). I sat at my drawing table and got lost in lines and shadows. My only concern each day for hours at a time was whether a line should be darker or if an area would look more dimensional, showing more motion if shading was added. As the drawing appears right now, it may or may not be finished. I’ve decided to look at it for a few days–and then determine if it might need a bit more added detail in some of the open areas. Time will tell.
Tessellation 7; 2016; graphite on paper; 22″ x 30″
Here is a fun detail shot of the drawing I took at a low sideways angle. I was completely surprised with how dimensional it looked this way. Who knows? I might turn this oddly angled “anamorphic-looking” photo into a mirrored pattern drawing. The fun never ends!
Tessellation 7 (detail on an angle); 2016; graphite on paper; 22″ x 30″
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Last week I signed two new print editions at Santo Press. That makes them the 47th and 48th editions printed by Brent Bond since our collaboration began in August, 2015. I know that is a record for both of us! I wouldn’t have been able to be this prolific without Brent’s expertise and hard work on my behalf. There are at least 5 more editions in “the queue” and I think I will be signing them very soon. Like next week!
The first print, Facets (blush) was printed in an edition of 50 for the 2017 Mesa Contemporary Art Museum’s 8th Calendar. It is a 2-color photopolymer relief with laser-cut woodblock. The 2017 Calendar will be available December 9 through the Mesa Contemporary Art Museum’s website. If you pre-order now, you get off $5.00 of every calendar purchased. It is a great way to collect prints by local artists and to support the museum.
The second print is Facets (B&W), edition of 10. Facets (B&W) is a one-color photopolymer relief print. $80.00
Facets (blush), 2016; photopolymer relief with laser cut woodblock; edition of 50; 7.5″ x 6″ image on 11″ x 9″ paper
Facets (B&W), 2016; edition of 10; photopolymer relief; 7.5″ x 6″ image on 11″ x 9″ paper.
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