Here are some of the prints from my time in the shop yesterday. The night before, I had quickly grabbed some cardboard and various papers, carved some designs and glued it all up; my design is all experimentation for practice. I hadn’t done any collagraphs since my BFA education, so it had been about eight years since I’d inked up a plate like this. Yikes, it takes some time and lots of attention to get the desired results. (Also, this shop isn’t really set up for this kind of printing, so I had to do some improvising–it all worked out, though.) I’m not entirely satisfied with the prints, but it started to feel familiar again and I’m going to try again, soon.
Here it is, “bust/Old Man Face,” and I’m pretty pleased with the results. My registration is spot-on about 90% of the time, which is fabu, at least for me, and I got some good subtlety in the colors. I will frame a couple of them and then prolly trim down the others for book cover material for a book binding class I’m scheduled to instruct next month. Sweet!
Here are the prints as I worked on them: On the upper left is the first layer of this reduction cut (or, the second layer on some prints where I printed the inked-up block as a background, first). Next, is the 2nd layer and, because I’m trying to learn from my mistakes, the registration is much better (so far) than on other recent projects. I experimented with transparent colors on this to see what kind of effects I can get. Second row left is the result of an application of a transparent yellow; it’s a little hard to see, but there is a clear layer of gloss apparent. Finally, I put on one more layer of transparent color. Look what happened! It’s a layer of transparent purple over the transparent yellow–I love it! I’m hyped. And, amped.
Okay, I know these fotos are sub-par in quality, but they do show what I was trying out yesterday in the printshop. I applied the last two layers of ink, an opaque light blue and finally, a dark blue. The image on the left is what I was starting with, the yellow and green (which was actually a layer of transparent blue) inks, and the image in the center is close to what I had planned in the first place, with the colors I was interested in and the use of/practice with opaque and transparent inks and, mostly, registration. This print is the second-best version of this plan and it’s clear I didn’t get it perfect. sad. The print on the right is pretty cool-looking, but not what I’d planned. A couple of things I do realize after this project: I should consistently use good quality printing paper; I think that my too-varied variety (lots of construction paper of different qualities and some very nice printing paper) precluded my getting just one good registration position because some of the paper stretched (I think) and messed me up. etc… Another thing is that I should prepare for the project much more thoroughly, from start to finish. Seems obvious, right? Well, I’ll try. Anyway, I’m still pretty tickled, but I know I have a ways to go before I’m satisfied…
image from Guggenheim Museum website: https://www.guggenheim.org/exhibition/hilma-af-klint
Once again, one of my favorite radio shows, On the Media, talks about something vital in my world; the other week, it was mass transit and this time, it’s gorgeous, illuminating, exciting art! On their December 21st program, OTM discusses the fabulous Guggenheim exhibit of the mystical work of Hilma af Klint, “Paintings for the Future.” This OTM segment is fascinating and informative about an artist I’d been hearing/seeing things about here and there for a little while–I regularly listen to On the Media, and, amid the expected stories on politics and media, there was this gem! This segment explores not just the art itself, but how it was positioned in history and how it came to be in the Guggenheim. I urge you to listen and be inspired! (The first several minutes of the segment is solicitation of donations, but at about 4 or 4.5 minutes, the segment about af Klint starts.)
1/18/19 Hey, here’s another radio show on af Klint! Studio 360(PRI.org) has an exploration of her work and its place in (art) history. It’s a nice piece about the history of af Klint and her work and it also mentions some of the work artists have done in response to her work.