Friday, October 31, 2008

Ape? APE!

Table 202!  THat's me!

APE=Alternative Press Expo

I'm going to be at APE this year.

Will you be at APE this year?

I'm at table 202.

Sunday, October 26, 2008

2D vs. 3D

houses and patterns, 4

This print is in a suite of 8 that are apparently my break out hits of the semester. Three people want to buy this specific one, but I haven't told them the price I'm asking for it, and another would like one from the suite donated to a permanent collection. I think I'm going to shoot pretty damn high and just see who stays interested after that. Mind you, pretty damn high for me is probably rather low.

The prints in this suite are one BFK white with a first run with a simple collagraph, and then a few subsequent runs with inked plate.

Here's an example of an inked up plate prior to printing it:


The half of the suite that are 2-dimensional:
houses and patterns

The half of the suite that are 3-dimensional (and my studio mate Tyler's legs):
houses and patterns, 5 6 7 and 8

I've been interested in subtle interplay in processing 2 dimensional aspects into 3 dimensional aspects without being overt about it. The whole intent of some of my prints lately is to get a viewer to understand how a 3-dimensional print is made without being didactic about process.

Well, my few and mostly disinterested readers, if I were to sell my prints online whigh venue would be better: Etsy, Cartfly, or Big Cartel?

Tuesday, October 14, 2008

Girl Twice

I will share a secret with you. The persons in the plate below are actually the same person twice.


Another collagraph, this one with fabric making up the background and my ubiquitous carborundum grit painting for the faces. I was uncertain about the fabric, it being so much taller than the rest of the plate. The embossing could have been overpowing, as could have the texture been. In the first inkings of the plate, the fabric was just way too obvious, but I think it worked out pretty well in the end.

The press at school is giant. I do big prints just because I can now, eating through paper with great rapidity, and seeing my savings dwindle in $2.50 increments with each print.


The image itself is 14 by 20, which only seems big because I'm a printmaker. Painters scoff at the miniaturized images in printmaking, the dictates of paper size and press ever present in the artist's considerations when working on a print.

double c, printed

I included this print in a portfolio for a grant application from the Los Angeles Printmaking Society, along with five other prints, three of which were three dimensional. So far, I only know that one of the graduate students in the program recieved the grant, but which one is still unknown. I hate hate hate waiting to find things out.



A week and a half ago, I stayed up late making a portfolio case because my other case was in my professors office containing prints awaiting grading. I needed the case in order to apply for a scholarshop grant. I found out yesterday that I recieved one of the three scholarship awards from the Los Angeles Printmaking Society. I shall be buying so much fancy papers and great sheets of wood in only the finest grains with this money.

houses and patterns, 4

The LAPS requests a print, a flat one on paper, for their collection from awardees. I get to choose the print, and I've got till December to figure it out. In the meantime, I'm trying to find any images of mono-screenprints online. There are none!

houses and patterns, 5 6 7 and 8

Oh, and also, new glasses:

new glasses

Thursday, October 09, 2008

Mono vs. Mono

I'm feeling foul towards monotypes, but monoprints, my friends, those I adore.

A monotype is when you have no reproducible matrix. A monoprint is when only aspects of the print are unique to each impression, and a reproducible matrix is utilized in conjunction with it. For example, the David print below is a monoprint because the inking is unique to each impression, but the matrix is permanent and so reproducible. The prints of Cein below are monotypes, because they are paintings made directly onto smooth plexiglass in graphite etching ink and then printed.

cein * 2

But, they're still pretty good, at least for monotypes.

I also did two of Nate. I rather like his hat.

nate martin twice

Friday, October 03, 2008

Print of the week

It's back up and running. I post a print every Friday, along with a little work history on it.

Print of the Week

I just spent way too long trying to track down the origins of the Lilith myth and just how apocryphal it is for my art history class, then I got sidetracked finding out that the story of Cain and Abel as I knew it, the one I was raised with, is not the traditional version at all. And then I read about Nephilim, which are not the offspring of my brother in law Nephi, but the angels who walked the earth and got it on with earth ladies. And now I haven't got any work done today at all and must make up for all of this tomorrow.

Men, print 1

David Collagraph

Holy crap, I'm back!

I'm working slowly on a series of portraits of men I'm friends with. This is the first finished one, and it's a collagraph of David Bessent. There are loads more prints besides this one, but I'm going to try to stick to a schedule of posting a new print, and a pretty ok one at that, every Friday. I'm back in school as a graduate student at CSULB, so it really shouldn't be hard to keep up with.

Here's the plate:
collograph plate

and the history of inking before I arrived at the top image as the final print:

Various inkings of the David print