Tuesday, 10 February 2009

Who's fed up yet?

Na, enough Trees on Water? Or can you deal with another one?

This is the one I will submit as part of the assignment:

Trees on Water, Final
Trees of water,
Lino print on Japanese paper

Do you recognise the colours? It's straight from Wolf Kahn's palette. I figured if I don't get round to the pastels all that much, I can do a bit of palette exploration in print. So, this is lime green and ultramarine blue. There is some intentional misalignment and some wiping back on the blue block.

Good. That's that pretty much done. On to the next. It'll be a reductive lino cut. Should I chose a trees on water reflection or something new for a change?

And a PS in form of a personalised message.
I., I may not have mentioned this before,
but I have a personal preference for your choice of three?
A subtle hint? How's this?
Thank you!!!


Casey Klahn said...

I am enjoying your prints very much!

Mary Adam said...

Love this print.

Anonymous said...

Yeah, enough trees, really!
I didn't read them nor looked at the prints (most of them are blocked by 'noscript' plugin anyway), but it's really enough. You realized it yourself.

Thanks my dear

How about 'thoughts about some weird cookies with CE number plates', 'german poetry', 'today's computer color space' or 'how to build an easel from a chewing gum paper, a match and a shoelace'?

Gesa said...

Casey and Mary: Thank you! It'll be quiet around the prints for a while, I think. But there'll be more :)

Tony: update your browser, or better still: get a new comp? os even? now, that construction project sounds intriguing, will give it a try and build a 100-part blog novel, interspersed with some surrealist poetry and many, many prints? how's that?

I am conversing with ghosts once in a while, just yesterday again in fact, but never via the blog... hm, interesting...

Anonymous said...

How about other kinds of landscape?


Have you seen this site by the Welsh printmaker Ian Phillips? Click on Printmaking, then Tutorial---IMHO, this is one of the best tutorials on the web on the subject of reduction printing, because he shows both the carved inked block AND the print alongside, which I find is a big help in getting my head around what has to be cut away. It's also a great chance to study HOW he does the inking.

Have you thought about exploring opaque versus non-opaque colour? I'm very interested in this as my background is in watercolour. Babs Robertson uses transparent colour in her linoprints, which behaves more like watercolour (eg, blue on top of yellow gives you green), but I've noticed that other printmakers use opaque colour, or transparent colour with a bit of white mixed in, which acts like gouache or opaque acrylics.

So little time, so much to learn!

Cate in Dundee

Lindsay said...

I love this one Gesa!
I'll agree that some interesting work can come out of a recession but artist's pay a high price. The arts are particullaryly vulnerable in hard economic times.

Gesa said...

Thanks, Cath and Lindsay! I agree with you on the vulnerability, definitely, Lindsay.
Thanks for the suggestions with reductive prints, Cath - I will have a look; but I think I'm fairly comfortable with the process, having done it a few times before. The transparent/opaque distinction is a good point. I do have extender with my inks, but unfortunately it died on me almost immediately. One supplier sells the Caligo inks cheaply in tubs; but the tubs dry out in no time, and the extender did so so quickly that I can't get the tub open anymore. But yes: I need a bit more time/space to try a bit more of this - possibly with trad oil paint to so to overlay. In particular anything mixed with titanium white is just sooo opaque!