Calculating the Unknown

When I am experimenting with printmaking methods, I need to calculate what is going to take place prior to printing anything. I want to use the key block to create several different types of prints using different woodcutting techniques. My goal is to print the key block with chine colle, and again with the 2nd block, and once more as a reduction print. Because this key block will be used in all the prints I have intended on doing, It is important to note the proper order of printing to not get ahead of onself by getting to a point where you can no longer turn back. My goal still follows my primary printmaking focus, where I am printing 4 basic color schemes; day, night, gold, and silver for final prints. I am not concerning myself with creating any kind of editions, every print will be unique and hand printed.

Calculating the finished results is sometimes impossible without printing, but I did a few basic sketches so I do not get lost when applying color. The second block was designed from the key block, but i intend on using the white line method. Here inlies the registration problems that I am challenged with. the Key block will be printed with a brayer, and the second plate will be printed while the paper is dry. I don't have a press large enough to print these blocks, so they must be printed by hand, and since I am using the blocks to produce a wide variety of prints, registration will be key in the end to producing good work.

To the right is the "white line" 2nd block design which I transferred and cut. I had several problems cutting the second block, because I used construction grade plywood. I know many people who would never attempt to use this wood, and I am joining with them. Here is why. Each time I made a cut into the plywood, the texture was different and the depth of cutting was hard to control. The piece of wood I used had several knots in it, which I thought would be a good look if they printed all the grain. The knots were very difficult to carve throough since the wood was extremely hard, and unforgiving especially on turn cuts. The rest of the carving was love and hate. I was loving the soft bits cutting with the grain, but when cutting against the grain, the soft wood was like mush. The wood alternated between hard and soft grain, which made the worst possible mark,...a skip. So while this was not the best wood, i am still trying to get out everythign I can to make a finished print. I have finished preparing the blocks by adding a thin layer of gesso to each board. It is best to apply the gesso with a "drybrush" stroke. This is done so the cut lines do not fill in with any gesso material.

Karl Kasten, inspirational to many generations

Karl Kasten, an artist I met and became acquainted with just recently, passed away a couple of weeks ago, and I am remembering how kind and generous he was during a visit I made to his house. First off, Karl was more than 50 years my senior, about the same age my grandfather would have been if alive today. My chance encounter came when I phoned a friend of a friend and said, "I would like to just meet him." I was late to our lunch date, where his wife, Georgina, had made crepes, and we shared some white wine. I felt special being amongst new friends.

He showed me around his house, which was difficult to walk through quickly because every square inch of wall space had been covered by Karl and Georgina's collection of prints and paintings, collected over their lifetime. Almost every item in their home seemed like a museum object, and I wanted to spend time with each object to appreaciate its value and beauty. We visited his studio where I had a good look around, and Karl showed me what he was working on in prints, and his paintings. He was kind enough to share many stories about his great teachers in art like Worth Ryder, Chiura Obata, and Hans Hoffmann with me.

Our time was cut short, as Karl needed his rest. Karl recently published a memoir titled "Foghorns and Peacocks," which highlights his experiences as a Bay Area artist and all his special moments with some of the great artists that passed through the San Francisco Area. Before I left he handed me a signed and dedicated copy of his book. I am proud to have my single moment with Karl and understand why he was so loved.

for more information on Karl Kasten:
http://www.universityofcalifornia.edu/news/article/23372

http://en.wikipedia.org/wiki/Karl_Kasten

Testing new punches, awls and chisel for a woodcut

I am under way on my second test, creating a woodcut print from no traditional tools, meaning v-gauge or u-gauge chisels. I spent about 7-8 hours on a 42cm tall x 36cm wide woodcut using my new circle punches, chisels, and awls. I started this time by mapping the woodcut into a grid, transferring the design, and then proceeding similar to the manor of Chuck Close, but different in approach. I did concentrate on each individual square, but that only assisted me in lining up the circles I was punching. After a while I felt I needed to choose several different patterns made with the punches to show different tonal variations, I also plan to use this printmaking plate as 1 of 2 plates. I do not plan on making a duplicate of Chuck's work, he does a fantastic job at what he does. The second plate will be cut on plywood, and I will use the whiteline method. Since each plate will be printed differently, I have yet to come up with a propper method for registration.Right now I am only focused on "doing" art and not "making" art. It is during these periods that I am able to experiment more, because I have no expectation of what the end result will look like. normally I would be deeply concerned at this point and have to print a test, so I cheated.
Here is "How to cheat on a woodcut test print." Below you see 3 images of the same woodcut: Image 1 on the left is a close up of the woodcut in progress. You can see some of the unique marks I am able to get from using the circle punches, and the awls, as well as using these in combination; The second image is considered complete, or as far as I am willing to work on the plate for now; The third image is the cheating part. I took a photo of my work and opened it with Microsoft Paint, and chose "image" and then clicked on "invert colors." This sort of gives me an idea how the plate will look inked up and ready to print,....sort of.



At the very least I am able to continue on to cutting a second block. The final photo shows further manipulation of the photo and gives me an idea regarding the graduated color, and it will be possible to replicate this if desireded during the final printing phase.


The Second Block will be cut using the White-Line Printmaking technique. Both plates will be printed to complete one print. I will have to work out the technical factors of registration, since the first block cut with the punches will be inked with a brayer to cover the entire surface, and the second plate will be printed in a step by step fashion as illustrated in the white-line link above.
I look forward to printing these into complete works, and have already made plans to print these as monotypes, using different ground(or first plate) colors to set the tone for the white line printing that will be printed over the top.