It was a busy week, and I didn’t have time to do any homework for my printmaking class. I usually do my carving at home, so I can spend most of my in-class time using the press. As I was getting ready to head over to the class at Chrysalis Studio in SF, I grabbed my supplies and was thinking of what I could do in class without too much effort. One of my goals for this session in Luminous Linocuts was to create a two plate lino cut print. I thought I would just have to draw “something” quickly in class and carve two plates. I suddenly remembered my sketchbook and thought that I must have a recent drawing that I could translate into a print. So I flipped through the sketchbook and decided to tackle this shoe drawing that I did earlier this month.
Katie Gilmartin helped me analyze the drawing and determine what to put in each plate. I decided to put the upper part of the shoe and insole on one plate and the lower part of the shoe (including part of the insole) on another. The insole part would overlap, helping with registration and creating an area where the two colors would overlap. Katie showed me how to register the images so they would be perfectly aligned when I printed the two plates on one piece of paper.
I reversed the drawing using the light table, then carved like a mad woman. I was able to carve the two 4″ x 6″ plates and make one print (and one ghost print) by the end of the three hour class. Somehow, during carving, I got the “N” in Keen backwards!!! Our two colors that evening were orange and raspberry, so I used orange on the lower plate and raspberry on the other. There were only five minutes remaining in classs, and everyone had some last minute printing to do. Very exciting moment when my print came off the press, perfectly aligned!!! Here’s the resulting two color print.
Here it is in a second colorway – printed 21May2014 on white paper
A few weeks ago I completed a silk screening class at San Francisco Art Institute with artist Jonathan Palmer. I was inspired by some of his prints where he combined silk screening and relief printing and decided to create my own series using these techniques. I posted about it here.
I created three related prints with a background nest-like structure, plus bird elements, such as feathers, wings, and birds. Then I printed linocut body parts over this. The project is still in progress, but I’ve completed all the prints and machine quilting for two of the pieces. I did some experimenting with the stitching and found that adding some thin batting added depth and texture. Without that, the stitching didn’t seem to add much. After completing the quilting, I mounted the pieces onto 18″ x 24″ stretcher bars.
18″ x 24″
18″ x 24″
Need to dry about 6 weeks.
Several months ago I created this linocut of a heart. The photo below shows my initial sketches, the carved linoleum, and the print on paper and on fabric. I wanted to take it further, but wasn’t sure what I wanted to do with it.
I’m currently enrolled in a six week silkscreen printing class at San Francisco Art Institute with artist Jonathan Palmer. The class has just three other students, so we have plenty of time to get help with the techniques that all take time to learn. I am intrigued with the idea of combining silkscreen images with some of my linocuts. The heart lino seemed like a good starting point for exploring this. Here are some photos of my first project where I silkscreened a hand drawn nest-like background and some wings, then printed the heart over it. I’m pleased with the result.
Here’s an update on the printed piece started during a quilting retreat in Healdsburg. I finished it today and titled it Rain Dance.
I was inspired to create a California themed linoleum block print on a background pieced from yellow and white scraps (more here). The colors and silhouetted dry seedpods represent our current too dry weather in California. I accented the printed background texture with metallic threads to represent rain.
Rain Dance 24″ x 20″
Rain Dance (Detail)
Update: Mar 13, 2014 – This piece will be included in Northern California Inspirations at the San Jose Museum of Quilts from May 6 – July 16, 2014.
When Katie’s Luminous Linocuts class started up again a couple weeks ago, I decided to create a large print on a background pieced from yellow and white scraps from a recent quilting retreat at Bishop’s Ranch in Healdsburg, CA. I wanted the background to create a landscape feeling with a darker silhouette of plants in the foreground. I considered appliquéing the silhouettes onto the background, but thought it might be fun to try printing it onto the fabric. I drew the design onto a large 24″ x 20 piece of lino, dividing it into sections so it would be easier to ink up with a 12 inch roller. Then I carved the lino for about a week.
I did some test prints on paper, then printed the design onto two different pieced tops. The first, shown below, was a test, just to make sure my idea would work before printing on the yellow and white fabric.
Once I was satisfied with the result, I printed it onto my yellow and white fabric. I like the interesting effects achieved by printing on fabric, especially areas where the seams or the fabric created resists in areas. (Click on the photos to see the detail.) Next step – add stitching.