Autumn's Bounty - Bittersweet

Week 2 of Fundamentals of Natural Science Illustration: Autumn's Bounty focused on berries. I started this in class, but by the time I sat down to complete it at home, the leaves had dried and curled. The colors remained this vibrant, which made it a delight to work with.

Celastrus scandens berries

CWOS Alternative Space 2012 - A Wonderful Experience

Words cannot adequately describe the feelings I have. This weekend was so much more than what I had hoped or expected! I spoke with so many interesting, encouraging people and made some new connections. I was invited to participate in two future shows; I sold two framed prints, a number of unframed prints and over a dozen packages of handmade papers. Friends have praised my work in the past and I am thankful for that encouragement, but actually selling work and in the quantity that I did was truly affirming! Here are some photos that Bob took. Too busy to take any more. More about some specifics later.

All Set Up at the CWOS Alternative Space

Bob and I finished setting up tonight. Looking forward to the weekend!

 

bowl holding business cards was hand cast with sheets of hmp

baskets were made by my husband. runner is eco- printed reclaimed cotton fabric

handmade paper and journals for sale. displayed on marigold-dyed reclaimed cotton fabric

Artist Statement and information on make paper

Focus on Drawing

As I have written about previously, I want to focus on drawing to improve my skills so that I can quickly and adeptly depict the plants and wildlife that surround me. I have started Fundamentals of Natural Science Illustration II: Autumn's Bounty at the Yale Peabody Museum Education Center in Orange, CT. I haven't devoted as much time to the homework as I would have liked because of other activities. After this coming weekend exhibiting at the CWOS Alternative Space, I don't have much planned, so will make the effort to really get serious about drawing again.

This week our homework was to draw a garlic bulb, with special attention given to the roots. After an hour and a half, this is what I've done.

Break time is over, so now to finish it.

It took a little more time to bring it to this point. I am hesitant to do more for fear of over working it although I can see the roots on the left need some help to bring them forward. I'll see what the instructor suggests tomorrow.

Polyester Plate Lithography and Monarda

Last night I completed the short course on Polyester Plate Lithography with Alexis Brown at Creative Arts Workshop in New Haven. This technique will take some practice to master it. I like the results that can be achieved, and there are quite a few, most of which I did not try. As I have stated previously, the use of oil based printing inks is a draw back for me. I really appreciate the ease in which water mixable oils allow for clean up with soap and water.

Here is a look at what I did last night. Will add photos from previous weeks in another post.

  This was created with two polyester plates. The bottom layer is the trace monotype of Monarda printed on ZAcryl polyester plate and inked with graphite etching ink.  On top is the original drawing of the Monarda printed on a Pronto polyester plate and printed with rose madder etching ink mixed with graphite. If I printed on white paper I think the graphite ink would be more visible. I like the look of the rose madder on the beige paper, however.

Before Photos in New Haven Register Building

Here are the "before" photos of the area where I will be exhibiting in the New Haven Register newspaper production building:
 

I've got the two cement walls and floor space out to the poles.

 Here's the plan:
1. wash the cement block walls, garage door and door to equipment room.
2. test the "damage-free" adhesive backed velcro strips made for hanging picture frames as well as printing labels to make sure they stick to the walls. If so, proceed with hanging framed pieces. If not, Bob will install masonry screws.
3. hang unframed prints with binder clips on cord or wire suspended below the vents on the garage door.
4. set up tables
5. install newspaper vending machine and use it to display my handmade papers
6. decorate poles with vining bittersweet if time allows.

Preview of my Space at the New Haven Register Newspaper Production Building

I got to preview my exhibition space at the former New Haven Register newspaper production building tonight. What a great space! Both for where I am situated and the building in general! There will be over 100 artists exhibiting there the weekend of October 20&21. I am so looking forward to setting up, meeting the artists I will be exhibiting next to and meeting all the people who will come out that weekend to meet the artists. Before and after photos will be posted within the next few days.

Turning One of A Kind into a Printable Plate

Monarda Trace Monotype

Making a trace monotype creates a lovely effect and is somewhat time consuming to do, as in this example of a drawing of Monarda. Part of a project I worked on last summer (see link here), this piece shown was created as follows. I made a sketch of red monarda that grows in my front garden. I rolled red ink onto a plexiglass palette, placed a piece of my handmade gampi paper on top, put a piece of blank copy paper on top of that, then the drawing. I traced over the drawing which put pressure onto the paper below which made contact with the ink.

Not only does this yield a color copy of the drawing on the paper of my choice, it provides a softer version of the line drawing. The light, unintentional pressure of my hand as it rested on the sheet as well as the texture of the gampi paper adds something that the original drawing lacks.

I am taking a class exploring Pronto Plate printmaking. I am working with both Pronto Plates and Z Acryl D2P Ployester Plates.  I will have this monotype copied onto the plate in black and white and will have it as a permanent plate to use again and again.

The only thing I don't like about lithography - stone, paper or polyester plate - is that oil based inks are required. I do not like to use mineral spirits for clean up, so use vegetable oil but this process is time consuming. When I create monotypes, monoprints, lino cuts, gelatin prints, etc., I am able to use water mixable inks and paints that clean up with soap and water in very little time. If you know of a litho process in which water soluble inks or paints may be used, please share that information with me!