A sneak peek at the third (and quite possibly the final) large painting in The Sixties series. The painting is 32″ x 32″ on Stonehenge paper. The colors are intense and vibrating red/orange and purple/blue. It’s quite difficult to get a true color reading on the camera’s sensor when photographing the painting because these colors are so vibrant and they really do vibrate. They did, however, show up very true in these small color chips I made while mixing the colors.
This first image is of the completed orange-red layer.
I am currently painting in all the detail on the orange after completely filling in the white areas with the purple-blue color. If all goes as planned there is probably another 7 or 8 hours until completion.
These are the small color studies I made of The Sixties series paintings. It’s always a good idea to see how the colors work “small scale” prior to painting them in such a large format. I have found it is easier to tweak colors at this stage prior to beginning a 40-hour painting only to discover the colors don’t work.
You can view the other two completed paintings (1966 and 1967) from this series here and then there’s an earlier blog post about my Sixties series of paintings and prints here.
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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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Making a new site, with a new look, and some amazing new work.
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