Birds and Blueberries

Of the prints that sold during the CWOS Alternative Space weekend were three containing the same birds drawing and mask used in different ways, and blueberries, printed with two different methods.

 

Birdsong - Mixed Media

Birds Diptych - Monotype

In the Thicket - Monotype

 One woman who bought a blueberry silkscreen print told me that she was buying it as a Christmas gift for her sister, with whom she shares a blueberry bush. Another woman told me that she too was buying it as a Christmas gift for her parents, who live in area of Connecticut surrounded by blueberry farms.

Blueberry Summer, silkscreen

From the drawing for the blueberries silkscreen, I created a drypoint etching in plexiglass and printed it onto some of my handmade paper, using the chine colle method. There are five versions of this, though this is the only one I have a photo of. This particular one is framed and has not sold yet, but is similar to the ones that did.

Getting Ready for the Show

Daucus in the Garden

Last year I received an invitation to show my work in the New Talent Gallery at The Silo Gallery at Hunt Hill Farm Trust in New Milford, CT. The show date is swiftly approaching (August 11th) so I have been busy framing the prints and creating a list of titles. I don't know yet what the name of the show will be. (The show is being held in conjunction with a group show, in a separate gallery.) A fitting title for my work might be Seasons In the Garden.  I've got work entitled Blueberry Summer, Summer Morning, Summer Leaves, Summer Series, Springtime in My Garden, Garden Beauty, Autumnus tempestas and more.

If you are free, please accept this invitation to the Opening Reception on Saturday, August 11th from 3 to 5 p.m. I will post more details once I receive the invitations.

Incorporating Gampi Transfers with Printmaking

I came across this video by accident (don't you love serendipitousness?) I have printed photos onto my handmade gampi paper and love how it looks, but have been reluctant to incorporate them into my artwork knowing that the inks would smear if I applied acrylic mediums or any other liquid glues. In this video the artist, Darlene Olivia McElroy, instructs you to spray the image with a fixative and allow it to dry before applying the medium. I am excited to try this. A simple solution to the dilemma! My gampi isn't white or tissue-thin like the type she uses in the video, but if I have a background similar to the natural gampi paper it should blend well. If not, that is okay because this paper is beautiful and will add its texture to the finished piece.




Two photos taken while vacationing at Madison Cottages, Summer 2010. Sepia and black & white/green tinted photos inkjet printed on my handmade gampi paper.

    

I have done "ghost prints" on thin store-bought gampi and have used some in prints via chine colle, but the paper doesn't "disappear" the way it does when using acrylic medium as shown in this video. You can see that in this print where the paper on the right was adhered via chine colle to the print then overprinted with the inked oak leaves. Perhaps if I thoroughly wet the gampi paper (providing the ink printed on it is waterproof) as well as the backing paper, it may "disappear". If not, I can try to use a matte medium so that this section won't have a shine to it (from gloss medium which this artist uses), since the rest of the print doesn't have or require that look.

Chine Colle Workshop

This weekend I attended a two day workshop at the Center for Contemporary Printmaking. This was the first time I have taken a class there. The instructor, Patrick Egger, is a recent MFA graduate from RISD. He studied under Brian Shure. Pat learned this chine colle method from Brian and taught it to us. I was one of three students enrolled in the workshop, which was wonderful because we each got our own press to use!

This method of chine colle uses a Japanese cooked wheat paste that is brushed onto rice paper and allowed to dry. About 30 minutes before use, this paper is put into a damp pack (placed between moistened pieces of newsprint and wrapped in plastic). These papers are then placed on top of the inked plate and a backing sheet (traditional European printmaking paper) that has been in a damp pack for 24 hours is placed on top and then put through the press.

I did a small series of prints with a drypoint etching plate I created today. The papers I chine colle'd were prints and ghost prints I did previously on thin mulberry papers.





I also used this method to collage previously printed papers together.



These pieces have been collaged over a print that I didn't care for. This will be the basis for a new print.



I really like this method. It allows me to paste up a lot of material at one time that I will have on hand to add to my printing plates as I work on them. A little bit of preparation will enhance creative expression. No need to stop the printmaking flow to prepare a piece for chine colle.