Art

Studio Gremlins

Stripe

The gremlins were very active in the print studio today. Everything I did was sabotaged by some mysterious negative force.

Before I even started printing, I realized that I penciled my initials and the center mark on the front side of each sheet of paper instead of the back. Doh!  I intended to print an edition of my Net Square print first. So I inked the plate, soaked the paper and pulled the first print. O.K. One print down, 11 more to go. But wait! What are those little marks within the net part of the image? I didn’t notice them when I proofed it last week. Grrrr. This was not a good sign. Now what?

I decided to pull another print thinking I could do a better job wiping the plate and making the marks less noticeable.  But, no, those same little marks appeared in the same place. Definitely not good, I thought. But, I reasoned to myself, who will notice them but me? I tried to rationalize the fact that no one else is even remotely as obsessive about such miniscule imperfections as I–that no one would ever really see them or think they were a mistake. Why be such a perfectionist? No one will notice. No one will notice. No one will notice. I said it like a mantra hoping that the more I said it, the more it would be true, that I would believe it.

I pulled another print. And those damn little spots were still there and they made me even more upset. I realized I would never be happy with those tiny dots screaming at me every time I looked at the print. They were like a chunk of spinach on someone’s teeth when you are trying to talk to them–it’s the only thing you see and the only thing you think about. I will just have to expose another plate some other day to make it perfect.

But the Gremlins didn’t stop messing with me here.

I decided to print my Solar Mum plate.  Without going into too much detail, let’s just say things got worse than those tiny little marks.

Out of 15 Mum prints, one was printed with the plate upside-down, one printed crookedly on the paper, one printed on the wrong side of the paper, one had its top border too narrow, one had ink spots (obviously they were on the press but seen only after the print was pulled), and to top it all off, I dropped the plate ink-side-down on a very dirty floor right before I was about to put it on the press.  Everything that could possibly go wrong in the print studio happened to me today.  I finally had enough and can’t tell you how glad I am I got out of there alive. Damn Gremlins!

Whew! I need a drink.

Image of Stripe from Toyark’s website.

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Hot Off the Press!

Yesterday was a busy day in the studio for me. I worked on three new plates and proofed them. Two of the three came out great and will soon be printed in editions. The third (not shown) needs a little more work–a minor adjustment here and there before it makes the cut.

I am still considering whether or not to add color to these two prints, but for now you can see how they look in black ink as they were proofed.

Here are the plates all inked up and ready to print:

2 New Plates art by Janet TowbinLeft plate: NetSquared; Right plate: Solar Mum

 

The first proofed print you see below is from a photograph I digitally solarized. It was posted to this blog a few weeks ago. If you are interested you can see both the original mum photograph and the digitally solarized versions here.

This is what it looks like as an etching:Solar Mum photopolymer etching by Janet TowbinSolar Mum (proof); 2014; Photopolymer etching; 8″ x 8″

I am very pleased with the Solar Mum print in black ink and will edition it as seen.  It might also look great with some added color.

This second print was created from an ink drawing on acetate. It, too will be printed in black ink–but my plan is to add some background color using chine collé.

NetSquared photopolymer etching by Janet TowbinNetSquared (proof); 2014; Photopolymer etching; 8″ x 10″

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Risk-Free Digital Collage

I’ve been intrigued by the prospect of making collages digitally and then manipulating them ad infinitum into mandalas and kaleidoscopic patterns. I am not sure where this creative exercise will take me, but I think there is a lot of potential in the images.

Like traditional collage, the first stage in creating a digital collage is deciding on the various sorts of materials to use. (So many choices, so little time!) I have mostly been using newspapers in my collage work and for this one, I have cut out a pattern in one sheet and layered it atop another. The layered papers were then photographed and uploaded to my computer. The first image you see below is the starting point in my process. I call that one the collage motif.

The next stage involved manipulating the collage motif in Photoshop. There is no glue, no wrinkling, no curling and no mess to contend with–which makes this a very satisfying way to create a collage.

I layered, mirrored and rotated the single motif into a mandala-type of image.  It is a completely engrossing process to play around with simply because there are an infinite number of images one can create.  The final image you see here was the last one I created (and one of my favorites) out of a total of 5 or 6 mandalas.

Looking for more traditional collages? You can see some of the ones I have actually glued in the Transfigured Times series.

I suppose the only downside to this technique is that there is nothing to frame or hold unless the images are printed. Which might just be the next step for me to consider.

risk-free 700Risk-Free motif; 2014; Digital collage.

risk-free mandala diff 700Risk-Free Mandala; 2014; Digital collage.

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