Linocut in Progress: Duck duck duck!

When we last left our hero she had just finished a lino and purchased a car. There were a few loose ends... like titles for both the vehicle and the print edition. The automotive title is coming eventually (ongoing pandemic = slower processing time), but the lino got its new name ("Low T'Eiders") and will soon be posted on my website. 

So of course it's time to get something new underway. I had a piece in a long, skinny (3:1) format sketched out before I started the eiders, but decided maybe the world wasn't quite ready for yet another linocut of harlequin ducks. 

And then I decided that although the world might not be ready... well... who's doing the work, eh? Me, that's who. And I am always ready for more harley ducks. So that's what we're doing. Look away if you must.

Reduction linocut in progress, Step 1

This time I thought it would be fun to push the color a bit, a decision which might end up looking great and might end up looking like a disaster zone. But, hey. I run the risk of a very public crash and burn every time I start documenting a new piece... so why not? I started out with a transparent green.

Reduction linocut in progress, Step 1 printed.

Yep, that's green. Could be fun, could be a nightmare. Let's move on. 

Color pass #2 was a bit more predictable... a transparent blue.

Reduction linocut in progress, Step 2 rollup

The printing of this color was straight up and basic... just roll it and go. Because the blue was so transparent it created a sort of... well... a blue-green, of course. 

Step2 printed

For the third color pass I decided it was time to make things a bit more interesting by creating a blended roll. I rolled out a transparent light blue and a deeper transparent blue-violet.

Reduction linocut in progress: Step 3 rollup

Alrighty, then, that seems like a good start. 

Step 3 printed (embiggenable with a click)

Those first three steps moved along fairly quickly, but now things have to slow down a little bit. These birds have bright white markings on their heads and sides, but I want them to appear in a sort of dramatic cross-light, so many of those white markings are in shadow. For this reason I didn't carve all the white shapes away in the first step, but now I need to address them before they become too dark in value. They will be a blue-violet color, which they more or less are right now, but I want them to be slightly different from the blues of the water. 

The best way to do this will be to cut a mask and do some spot inking, so that's where we're headed next.  

Linocut in Progress: Finishing the eiders

Alrighty, then! In the space of 48 hours both my quest for a new car and my quest to finish the eider linocut were resolved. More or less. There remains the obligatory shuffling of papers for the car and the equally obligatory shuffling to find a title for the image, but at least things have moved on to a new stage.

Step 10... AKA the expected-to-be-final-but-then-alas-not-quite-final step. I mixed a bit of sepia into all my scraps of greenish and ochre-ish brown ink and rolled the resulting deep brown across the entire block. 

Reduction linocut in progress: Step 10 rollup

The result was good, but not exactly right...

Step 10 printed

...which meant there was one more pass to go. I'm sorry to admit I didn't take a photo of the last ink rollup, but here's the carved block after I had finished printing.

Final carving stage

The birds' heads and backs have been mostly carved away, as well as swathes of rock weed in areas that are shadowed, but not completely so. It seems like there's a lot of material still left on the block after 11 stages, but believe me, a lot has been carved away. It's just been in tiny bits at a time.

The final color was the previous brown with a good amount of Prussian blue mixed in to give it a coolness that seemed appropriate for the deeper shadows.

And... heeeeeeeere's the final image. (This is a scan rather than a photograph, so the colors are closer to correct. The photos always seem to be a bit lurid.)

As-yet-untitled reduction linocut, 12" x 12"

All that remains is to find a title for it. Female eiders camouflaged out in the open are a common sight here in Maine. The birds are similar in color to the rock weed that is exposed at low tide... its slippery fronds making it treacherous for human beings and other predators to traverse the rocky shore. Lingering at Low Tide? Perhaps. 

I've already got another large-ish lino in the long, skinny format drawn up, but it might be time for me to tackle some smaller images. I am undecided. What I DO know is next on the horizon is finally pulling together my online Learn Linocut course! I've promised my producer than I'll have the written portion...well... written... in the next couple of weeks, and final feedback on the video portion. The goal is to have everything ready before the holidays... so if you know someone who wants to learn the process I should have at least some of your holiday shopping solved for you! 

Linocut in Progress: Slowly

Of all the headaches associated with this, the weirdest year ever, the one that has been depriving me of the most sleep (lately) is the ongoing quest for a new (to me) car. My current ride is 23 years old... going on 24. While it was never a practical vehicle for me in terms of cargo space (it's a sedan... not convenient for hauling around art), it has been completely reliable. The engine still wants to go, but after 200,000 miles everything else is wearing out. 

I started looking for a replacement in February, but then of course everything shut down for a couple of months. When I started looking again in May I found few vehicles available and prices elevated (as they have become with just about everything). I can't tell you how many hours of my life have been lost to car hunting and research... online... driving around. There have been a couple of vehicles that looked promising but in the end were disappointing... with entire days lost to driving back and forth. 

The search has reached critical stage... and it's occupying most of my brain cells... so it's been really hard to find momentum in the studio. But I did get another color pass down this week, and I think there's just one... maybe two... more to go.

Reduction linocut in progress, Step 9 ink roll up

Everything about this piece has seemed strange. The color palette, the time it's taking, my distracted attention. After the last color pass I really started to worry that the whole thing was going to fall apart, so my goal for this step was to try to create a bit more cohesion. I mixed up two rather odd inks... a greeny-brown and a reddish-brown. The red-brown was used somewhat loosely across the birds, and the rest of the block was inked with the green-brown. Both colors were very transparent, so they reacted with all the colors printed below them.

Reduction linocut in progress: Step 9 printed

Oooookay..... That feels better. Hard to say if I will be able to resolve it all in one more color pass, but that's the goal! 

Project Postcard in the time of pandemic...

'Way back in March, when everything started to go pear-shaped, many organizations with big annual events on the horizon were obliged to peer into the murky future and make decisions about the rest of the year. Each change or cancellation was painful, but one of the toughest ones for me was the weekend shenanigans events at the Woodson Art Museum's annual Birds in Art exhibition. 

Birds in Art is one of the most prestigious wildlife art exhibitions in the world, and I have been lucky enough to have my work selected again this year. The exhibition is always a beautiful celebration of all things avian, and the gathering of artists from around the globe for the September opening is a highlight of every year.

This year the exhibition will open to the public on schedule (with precautions in place, of course) on September 12. But there will be no "Artrageous Weekend" festivities... no gathering of the tribe. (Insert sad face emoji of your choice here.)

But some activities will still go on, albeit in a different format. Each year Birds in Art artists donate 4 x 6-inch art "postcards," which are mounted on the walls of a secret room. Anyone who wants to play pays $50 for a chance to go in to the room for 1 minute and select a piece that appeals to them. Signatures are all on the back, so there's no way to know for certain if a piece is by a particular favorite artist. 

Funds raised through Project Postcard are used to buy work from the exhibition for the museum's permanent collection, so it's win-win-win! Buyers get a little artwork gem, several artists get their work purchased, and the museum gets new work for their collection. Full disclosure, I myself have had work purchased for the Woodson Museum's collection through Project Postcard, so I am always happy to contribute. This year the museum is having to forego the "secret room" aspect, but the clever staff have worked out a "contactless" system. Hooray! 

Here are my two submissions for this year; distorted, of course, to keep them at least a semi-secret for a few more days until they're winging their way to new homes. 

Linocut in Progress: Still in the ugly zone....

Is it just me, or have all the social media platforms decided to change their interfaces at the same time? Blogger, Facebook, Instagram. It seems as though they've all moved the controls, changed the appearance, and simultaneously conspired to cause user irritation. 

Maybe I'm just being ultra-sensitive, because if you follow me on either FB or IG, you know that last week some nefarious human being created an Instagram account impersonating me and subsequently spammed many of my followers. It caused no end of headaches, since it is impossible to reach a real human being at any of these companies anymore. I don't want to rattle on about it, but as a public service announcement I just want to say BE CAREFUL OUT THERE. I never send my readers any private messages asking them to follow links or donate any funds, and I immediately delete messages I receive under the same circumstances. Stay vigilant! 

But enough of the soapbox, let's talk lino. 

There have been a lot of distractions in the last couple of weeks. Between the IG woes, an online course, and a live workshop (my first since last autumn!) studio time has been erratic. But then again, so am I right now. Erratic, I mean. 

So where are we?

Right. We're at Step 6 already! There are four subtle layers of color in the background water area, and in my last post the print had just entered the Ugly Duckling Stage with the application of Step 5. I'm afraid we're going to be in this questionable stage for a while longer, so I hope you've got plenty of popcorn and don't mind a cliffhanger.

Step 6 was a straightforward orangey-ochre applied to over the entire block. It went a little way towards unifying some of the blobbiness that started to appear in Step 5, but not much.

Reduction linocut in progress, Step 6 printed

The seaweeds which cover the intertidal zone all along the Maine coast range in color from a sort of orangey-ochre to an ochery-green to a blue-gray and a green that's almost black. I find these colors really tricky to mix effectively, especially when I'm layering transparent color.

For the next color I mixed a fairly dark, transparent green-black. I wanted to dull some of the rusty orange from the previous pass, and "cool" it down a bit, without getting too dark.

Step 7 ink rollup

The tricky bit is trying to anticipate how colors will interact. On the block this color looked very dark and gray, but on the print.....

It produced a rather nice brown.

Step 7 printed

In general this is all feeling okayyyyyyy..... but I don't like how dark the birds' heads have become. And I want to start developing some of the cooler-toned rockweed that's mixed in with the more ochery bits.

This looks like a job for SOOP-er Weird Color Woman.

How about we roll some plain opaque white over the upper parts of the birds and a nice, somewhat opaque, blue-gray over everything else? That ought to do... something. Right?

Step 8 rollup: Spot ink white and blue-gray

Well. It's definitely done... something.

Welcome to the Ugly Duckling Stage, Part 2.

Step 8 printed. Hmmm.

Believe it or not, I'm actually not panicking at this point, although maybe I should be. There's a bit of wet ink glare in this photo, so it's hard to tell, but I am happier with the birds' heads. Not much of the gray color will remain in the final image, I don't think.... but it has put down an interesting base and will create some nice highlights in the darker rockweed to come. Well, that's the theory, anyway!

Linocut in Progress: Ugly duckling stage already?

Alrighty, then. What the heck is going on in the studio? Stuff. That's what's going on. Linocut stuff. Whether's it's good stuff or bad stuff, I can't really tell yet, because, yes, Virginia, there is an Ugly Duckling Stage (henceforth known as the UDS), and we are in it.

But let's see what happened right up to the time of entering the UDS, shall we?

There was still a little work to be done in the background, which, as you might have guessed, is the watery region of this image. For this last bit I rolled up a transparent blue and a teal-y color to create a subtle blended roll.

Color rollup for Step 4: transparent blues and greens

With three layers of ink already on the print, it was important to think about minimizing the impact of additional bluey/greeny colors where I didn't need them, so for this pass I cut a newsprint mask to cover the foreground subjects and keep that area of the print clear.

Like this:

Reduction linocut in progress, Step 4 printed

Yes, indeed, those are silhouettes of bird shapes against the watery horizon. They have a little bit of a dark halo around them because the newsprint masks weren't spot-on, but it's okay because the next color pass will cover all that up with an opaque white. The new white won't look bright and pristine, but I am only aiming to lighten the overall value in the birds and combat the cool undertones. The real business that's getting started now is the foreground: rocks, barnacles, and rockweed. The rockweed's underlying color is a warm yellow ochre, so I'll blend that with the white to create a nice transition. I hope.

Step 5 ink rollup, white to ocher

Aaaaannnndddddd........ Here we are, squarely in the UDS. (That's Ugly Duckling Stage, if you've forgotten already.)

Linocut in progress, Step 5 printed

I should probably note that in addition to a rather unsightly collection of colors, there were also some printing issues with this particular sheet. This was the first or second print at this stage, and I was having a little trouble with both press pressure and amount of ink on the block. Things evened out after this, but of course I neglected to stop and take a photo.

At any rate... I'm now committed to a tangle of vegetation and birds, so the next carving stages will be slow and complex. Fingers crossed I can find my way back to some harmony by the time I reach the end, because right now things look rather.... well.... Ugly. Ducklings not required.

Linocut in Progress: It's all heating up...

And I mean that quite literally. It is HOT here on the coast of Maine just now-- the kind of heat that makes this formerly-of-the-high-desert printmaker wonder what she was thinking when she moved to a place where 90-degree temps can be accompanied by equally high humidity levels. To make matters worse... it just doesn't cool down at night. Back in Colorado we might have 100-degree days, but at least I could always be sure that once it got dark I could cool the house down and be ready to meet the next day's onslaught.

Here? Not so much. And I am cranky.

But I'm trying to work, despite doubts about how ink and paper behave in these conditions. It's slow going, since I frequently have to stop to wring myself out, but at least I'm trying!

I'm back to a square format for this piece; and although it will have a few of my usual subject elements (birds and water, of course), there will be a twist of complexity in the foreground that I am both intrigued by and nervous about.

But to get started, here's a soft blue in the background.... not over the entire block, it's not needed everywhere.

Linocut in Progress, Step 1

Not much information there, but that's okay. Let's try to keep some suspense going for a while. 

The second color pass was a blue-to-green blended roll, again just in the upper half of the image.

Reduction linocut in progress, Step 2

It was all feeling fine at this point, but I started arguing with myself about whether or not I should be masking color out of the foreground, since the color temperature of the bottom two-thirds of the image will be much warmer than all the color that's been printed so far. My concern is with the interaction and influence of the already-printed color and the color-to-come, but I am too hot to think clearly and my brain cells are dripping down my back along with the rest of me. 

It is, however, quite satisfying to see my studio look as though there is something happening in it again. And look above my drawing/carving table! Can you see that all my carving tools are now in a nifty little rack attached to my shelf? You can thank my friend and neighbor, J, who has a lovely habit of taking an idea vaguely described by me and making it appear as if by magic.

Studio view... so nice to be working, even if I'm melting
and the paper is curling.

Sooo.... studio view and sweltering heat aside, I think I can manage one more color pass for the upper third of the image. This time it's a sort of gray-blue to lavender-blue blend... and, surprise! Some of the subjects are starting to be revealed.

Reduction linocut in progress, Step 3

It's time to make yet another pitcher of iced tea and check on the status of the ice cube trays, and then it's back to the carving table. 

Reduction linocut demo video!

Back in the day when one could reliably make plans I intended to go home to Colorado for a couple of weeks this summer. While I was there I was scheduled to present a hands-on printmaking demonstration at Ann Korologos Gallery in Basalt, which represents my work.

Since I couldn't be there in person this summer we thought it might be fun to do the program virtually. If you were following along here on Brush and Baren as I worked on the new linocut of columbine you might remember I mentioned that I was shooting some footage and trying to be diligent about recording all the steps. 

Well! I can finally share with you the completed video! It's a solid 15 minutes long, so you might want to make some popcorn or at least get a cup of tea before you hit play. I hope you enjoy it!

Linocut in Progress: Columbine in full bloom!

Oh, you should see Maine right now! It's ridiculously green. I spent most of my life in the high desert, and while we had our verdant moments and secret pockets of rich vegetation, it wasn't anything like this overwhelming wall of... just green... that we have here in the early summer.

There's been a lot of green in the studio for the last week, also. Once I had proved that the columbine linocut didn't need to be scrapped, I was anxious to get on with it. Naturally, the faster one wants to finish the slower the ink layers dry. It's a conspiracy, I swear.

Anyway... somehow we are at Step 10, and somehow I missed taking any photos of the ink rollup. I've been trying to take photos and video throughout the development of this linocut, so I can put together a video for the team at Ann Korologos Gallery. I was supposed to be in Colorado right now, as I mentioned before, and had a demo and artist talk on the gallery schedule. It's still going to happen... but now it will be virtual!

All of which is to say that I'm guessing the ink rollup was recorded in video and not photography, so you'll just have to imagine it. It was another blended roll... a darker and bluer green blended to a  darker and more olive-y green. Like this:

Reduction linocut, Step 10 printed

At this point I was really hoping the next color pass would pull the entire thing together, but I had my doubts. The background is a wee bit boring, but I don't want to go too crazy and have it interfere with the main subjects, the twin blooms. (Oooh... maybe that will be the title! Or not.) I also want to beef up the contrast with some darker values, but I don't want to go SO dark that the flowers appear washed out again.

Ink scraps saved in wax paper

Luckily I have plenty of ink with which to search for the appropriate colors. I think I've mentioned before that one of the reasons I still like to work with oil-based inks is that I can save leftover bits of color by wrapping them in wax paper. The ink scraps will usually stay viable for several weeks this way, and I often use "leftovers" from a previous color pass as a base for mixing new colors.  For Step... hm... 11 (!!!) I started with the leftovers from Step 10 and added in some leftovers from the previous black scoter print! Because that's how I (ahem) roll. (See what I did there?)

Step 11 rollup

Step 11 printed

At this stage I put a little video clip of the reveal on my Instagram feed and asked the question, "Is it finished or is it ain't?" Most people seemed to think it was finished, but you know me! I felt it need just a little more interest in the background and some small darker bits in the stems and leaves.

Ugh. Step 12.

Back to the ink scraps to mix up this strange green-brown... very transparent.

I had to squeeze in "just one more color" of course. Step 12 ink rollup.

Yes. That's what it needed. NOW it's finished.

Columbine, reduction linocut, 6" x 8" Edition size? Probably 18, I still have to sort them.
This image is slightly embiggenable with a click.

I'm not sure what's up next in the studio. I need to take some time now to work on the video of this image, plus I still have plenty of work to do for my online course. And I need to develop a virtual field sketching class for the Farnsworth Museum. Yikes. That's a lot of a whole other kind of thinking! Best get started. 

Linocut in Progress: A near-disaster averted.

Aaaaaaaanndddd.... as anticipated, we have reached the "ugly duckling" stage of this linocut, the point at which I question every choice ever made in my entire life, especially the one that involved putting ink and paper together for a living.

There's really no good reason for this print to already be at Step 7 and only have the blooms of the flowers resolved, but that's where things stand. It's time to start thinking about stems, leaves, and the still-avoided background.

The first question to answer is "How the heck are we going to get green over all this lavender?"

Just as a reminder, here's what the last step (number 6) looked like:

Where we last left our hero: Step 6

That's a lot of lavender... and it's nice and harmonious. It's going require the serious pulling up of my Big Printmaker Pants to move on from here.

I knew whatever color I printed next would need a lot of opaque white ink in it. It's impossible to get back to "white white," even if I used straight white ink on the image, but I can at least get things moving in the right direction. I mixed up a sort of "pistachio ice cream" pale green:

Step 7 ink rollup... pale, pale green

And I got this:

Reduction linocut, Step 7

Not what you were expecting, I bet. It was sort of what I was expecting. I had hoped for a little bit lighter value, but the grayness was no surprise. Remember your basic color theory, everyone! Colors that are opposite on the color wheel (blue-orange, green-red, purple-yellow) tend to dull each other out. A yellowy green over a lavender just does what it has to. I went ahead and finished this color pass just as it was, because I couldn't really see a way to get a better solution at this point. I crossed my fingers I could fix it in the next pass.

And I did. I mixed a brighter, but still loaded with white, green for Step 8, and now things look undeniably vegetative. But there's a new problem. The flowers look SO washed out! The richness of the lavender seems to have faded away with the addition of these last two color passes.

Reduction linocut, Step 8

Yes, I admit it. I considered scrapping the entire thing at this point. Because if I have to darken the flower petals the only way to do that would be to cut a second block... and trying to match those shapes? It didn't bear thinking about.

So after a day or two of nail biting I decided I should go ahead and try one more color pass to see if I could bring the blooms back to life. If not... well... I was resigned to the need for a do-over.

Step 9 rollup

I decided that if I was potentially going to pitch the entire thing anyway I might as well go for the bold, so I mixed up a blended roll of dark-to-light (and bright!) green.

Step 9 printed

Hooray! That worked okay, didn't it? The flowers are back to their lovely lavender selves... and the background seems to at least have a direction.

And speaking of the background... there's no more time to avoid decision-making here. I would like to keep things from getting too visually complex... let the two blooms continue to be the focus. Perhaps I'll keep the upper part of the background a solid shape and muck around a bit more with the foliage in the foreground. Time to make a couple of computer printouts and get out the pencils and see what I can sort out.

Linocut in Progress: Because I don't know about you, but I could use some beauty just now

Progress, while distracted, continues in the studio. I have been hesitant to write about creative struggles when there is so much destruction going on in the world. How did we human beings get ourselves to this point? And how do we get ourselves out? So many burdens, so many problems to solve! Climate change, global pandemic, racism, violence. Isolation, fear, anger. Murder.

Like a lot of us, I have found myself swinging between cautious optimism and overwhelming despair. Between no sleep at all and a struggle to get out of bed.

I have had little enthusiasm for image-making (or much of anything else) lately, but I am thankful that printmaking is such a process. Once a critical decision is made (carve this area, mix that color ink), there are long periods of more or less mindless repetition when one is actually printing. Roll ink, register the block, print. Roll ink, register the block, print. What focus I can muster is dedicated to craft, as I strive to be as consistent and precise as possible.

And beautiful. More than ever, it feels necessary to create something beautiful. The blue columbine is a lovely wildflower, although there is a tragic and violent connection to this bloom, also. Twenty years ago, a horrific shooting took place at a high school named for this, the Colorado state flower. 

Reduction linocut, Step 4 printed

Probably somewhere in my last post I made the mad assertion that this linocut would be a simple one. I should really stop saying such things, so that we can all be surprised when it finally does happen. 'Cause it ain't gonna happen this time. Again.

Step 5 printed

Luckily I didn't have to make choices about color for these stages, only value. I added a little bit of blue to darken the lavender, but that was all.

Step 6 printed

It feels quite satisfactory at this point, very harmonious. But in the back of my mind I know that problems are brewing, because of course I need to add some greens now... and how is that going to work with such a dark lavender base in the background? I predict a few difficult stages ahead as I try to balance color and value and as I try to find the overall picture. I have no plan beyond this stage, really... I haven't considered what to do with the background or how to resolve a couple of elements that aren't visible at this stage.

All I know for sure is that I want the end product to reach for a balance of boldness and sensitivity, contrast and harmony. Which, I think, are important qualities to strive for outside the studio as well. Shall we give it a try?