So here's Step 10. You'll have to trust me that is was another transparent gray pass. The goal was to create some darker greens, and it also darkened up the background blues a bit.
|Reduction linocut in progress: Step 10|
And now I can no longer avoid the bird. It's a small thing (Literally. It's maybe an inch and a half long), but a big thing... if you know what I mean.
Of course because I've been largely ignoring it, I need to go back and lighten some small shapes. I knew this was coming, and it's always a bit of a risk, but I did it anyway.
Here's a closeup of Step 11:
|Step 11 detail|
I lightened the beak area, plus a couple of shapes in the reflection. Rolled out the ink looked almost white, but as you can see, it doesn't appear white as printed. That is a good thing. I didn't WANT white. But it did take a couple of tries to get this to register as a lighter warm tone with all that green and gray underneath.
Here's the overall view:
|Step 11 printed|
So NOW I can really start try to resolve the creator of all these lovely reflections. An American coot has a dark gray body and a black head, but I wanted to suggest at least a little light hitting the bird, so I left some lighter gray-brown areas when I rolled out... Another transparent gray. Darker this time. But still gray.
Here's a detail:
|Step 12 detail|
Okay, so close now! I think one last dark transparent gray... not quite black... will do the trick.
But first, the overall image at Step 12:
|Step 12 printed|
The final dark finished off the bird, plus I carried it down a little way into the reflection... you know... 'cause that's how reflections work.
Stellar work Sherrie. I bow to your crazyReplyDelete
but effective multi grey layers!
Thanks so much! I'm considering challenging myself to do a piece with no gray layers... but... wait... how would I do that? ;-)Delete