ScreamingTea in the New Year!

With the widespread use of the Brown Betty teapot, came the new rituals of tea preparation. 

Brown Bettyish #1 - Block relief carving, inked for inspection prior to proofing, with black Ranger ink.

 The kettle would be filled with about four cups of water - just a little more than was needed to brew the pot.  The water would come to a full boil, as indicated by the powerful scream of the whistle, and half to three-quarters of a cup would be poured into the teapot to prepare it for the brew.  The hot initiating water was thoroughly swooshed , then discarded.  Next, three teabags were unwrapped and bag-only was lowered into the bowl-portion of the teapot; the cords, with tags, were wound around the handle to secure them and prevent them from plunging into the brew. 

Teapot #1 - From bottom to top, initial pencil sketch, resketched with India black ink and highlighted with white China marker.  Next, the carved Speedball relief block, inked and on the top the soft (6B) graphite transfer sheet used.

Once secure, the boiling water (which had been returned to the fire while the teapot cured,) was gently poured into the pot, and the covered quickly placed on top to trap the steam. 

Teapot #1 - Relief proof print #1 using Daniel Smith relief ink on 300 series Strathmore printmaker paper.

In four to five minutes, a small portion of the brew was poured into a heated cup for testing.  If it passed the "strong enough" test, the entire cup could be poured.  If it did not pass the test, this initial pour was discarded and the wait continued.

Hopefully you are not waiting for the celebration of 2016 to begin.........
 

Happy New Year's Eve!

The Brown Betty Style

The image in this drawing most resembles the Brown Betty pot, which became popular as drinking tea moved out of aristocracy and to the masses at the beginning of the 20th century.

While logic would suggest that the teapot has a long history, the teacup or tea bowl  ooth predate the teapot by hundreds of years.  In fact, the first teapot was not officially recorded until 1500; it was the use of the Yixing teapot that was recorded in the Jiangsu province of China.  That relatively small red clay pot held one to two cups of tea.   Early in its use, each pot only brewed one type of tea, and was carried by the user.  Once the tea cake was prepared and boiling water added, the pot owner would drink from the spout.  Different types of tea were never brewed in the same pot because it was feared that the flavors and oils saturating into the interior surface of the pot would mix. 

Tea Pot #1 - Sketch using 6B graphite pencil on 400 series Strathmore tan paper.

 The practice of infusing the leaves by soaking , or steeping, them in boiling water is a relatively recent tradition, as well.  In the third century, Chinese tea practices began with the roasting of tea leaves.  The roasted results were pounded into a paste, then formed into cakes (think bouillon cubes.)  When needed, the cakes were pulverized and mixed with salt, rice, ginger, orange peel and spices and mixed with boiling water to form a soup (thus the earlier-mentioned tea bowl.) 

Over time, the role tea played in society and the types of vessels created to brew it are driven by both finance and the demands of those being ruled to have access to things viewed as valuable to those who ruled.  When the highly decorated translucent glazed pottery teapots developed for the Chinese emperor  were discovered by Europeans in the sixteen century, for example, the Europeans quickly learned how to make porcelain and add their own decorative images replicating scenes in nature.  Makers of fine dishes, such as Spode, Limoge and Wedgwood each made their own teapot versions for kings, queens and aristocrats.  Of course it wasn't long before these teapots became desirable to a broader and broader range of tea drinkers.  The ability to make many copies of these fine pottery teapots increased their use across Europe, and later into the Americas.  The Boston Tea Party provides a great reminder of the way in which tea was viewed and used by those in power and those who felt oppressed. 

Of course there is also a ritual to accompany the use of the teapot.  The mainstay from the very beginning, whether brewed in a cup, bowl or pot and whether made from pulverized roasted leaves or carefully dried young leaves, seems to be "the boiling water!" 

Tea Time - Twin Tea Bags - Enhancements

The final sketch reveals the fine lines of a pen and ink drawing.  I have yet to get my hand-cut lines this narrow with success, although I think the carved lines would look finer (i.e. more delicate) if I was printing a larger image.  I am increasingly interested in learning more about textures and patterns in carving......

Tea Time - Twin Bags - Pen and ink drawing on 400 series tan Strathmore paper. 

Below is the first pulled draft relief print with hand-colored enhancements.  I continue to enjoy the effect of using the white China marker for both light areas and highlighting.  I don't think it would work well on a hand-colored card, however, because it very easily smears and migrates. 

Tea Time - Twin Bags - First proof print, mixed Daniel Smith  ink printed on 400 series Strathmore paper and hand colored with white China marlker and Derwent Inktense pencils, activated with water. 

I decided to create a visual image that is more suggestive on mixed Teavana blend than a black peco leaf.  If you have ever explored the range of tea choices now on the market, you know how different they look from the chopped leaves from 20 years ago  The addition of rooibos, lavendar, matcha, white tea, green tea, chamomile, vanilla, etc., etc. have really change the flavors, looks, tastes, and textures of teas.  If we are to believe all of the ads, these additions have also changed to health benefits, medicinal impact, and overall life enhancing qualities of the available choices.  The days of walking down the grocery aisle and choosing from Lipton, Red Rose and Celestial Seasons are long gone. 

Tea Time - Twin Tea Bags - Mixed Dankel Smith nk on 400 series Strathmore printmaker paper, and hand colored with FW acrylic inks. 

The image above is not only a tribute to the wonderful tea bag, but a nod to the dozens of concoctions we now have to select from.

Tea Twins - A New Grouping

I tried a series of sketches until I landed on a favorable grouping of teabags.  As with other relief prints, I began with the pencil sketch, darkened the desirable lines with black India ink, then created the transfer sheet using 6B soft graphite pencil on transfer paper.  Below, on the left, is the soft graphite image on the transfer paper, ready to move to the Speedball softcut material. 

Tea Twins - Soft graphite drawing on transfer paper.  Notice that the composition has been shifted to be contained within the sides of the Speedball softcut boundaries. 

Tea Time with Tea Twins - relief print proof #1.  Black Ranger ink on Strathmore 300 series printmaker paper. 

After pulling the first proof, I went back in with the smallest "V" blade to open up more of the tea leaves in both of these tea bags.  I still need lots of practice on the carving into these little, tight spaces, but it is fun to try.

I was also surprised by the shadow lines that picked up ink outside of tea bag.  Because these images nicely fill the space in the relief block, I didn't think that random crests in the open-carved areas would ride high enough to catch ink from the flat ink pad........wrong.  I went back in and tried to cut away some of the crests, but might have to remove border material to avoid the shadow ink lines completely.

Tea Time with Tea Twins - relief print proof #2.  Black Ranger ink on Strathmore 300 series printmaker paper. 

Notice in the second proof, how much the tea leaf area is open.  When hand coloring these areas, filling in the leaves with a range of colors with close down the spaces some, but create a much more interesting image to look at - AND - it might look more like loose tea before the hot water plunge!!  Also notice that in this second proof, the shadow ink lines are gone - got lucky!!!

More Tea

One of the first linoleum prints I carved was a 6" x 6" tea bag.  It was printed on off white paper with sepia ink.  The coloration suggested that it might be tea stained, a coloring technique sometimes used to make paper look old and/or antique - it was neither.   From these early images of tea bags, I began to experiment with ways to vary the image with both mixed media work and simple block printing.  A variation on the multi-color tea bag on yesterday's blog, is the polka dot bag below.

Dotty Tea - Mixed media tea bag combining two prints to "fill the bag." 

I wanted to have a tea bag image that could be used to include with a gift in much the same way that pictures of coffee, Juan Valdez, or coffee mugs are used on cards to include with gifts of mugs or coffee.  (Over the years, teachers tend to see a number of gift items in these groupings or categories.)  My drawings started with two bag to help suggest friendship or a "shared" experience, which seemed appropriate for the purpose.

Early tea bag sketch in pencil, with India ink emphasizing lines added, and white China marker used to define edges and make corrections. 

I decided to re-position the bag from the original drawing to make a more appealing composition.  The solo tea bag, above, was used in this orientation, almost the same as in the original sketch. 

The Tea Ritual

Now that Christmas is a fond memory, it is time to take a few minutes to relax and enjoy a nice cup of tea.

As far back as I can remember, tea has been a very important part of my household.  Wake up in the morning; time to brew a cup of tea.  Come home at the end of a busy day at work; brew a cup of tea.  Wind down after dinner; brew a fresh cup of tea.  Come inside after dividing the hostas in the garden; brew a cup of tea. Well, you get the idea, a freshly brewed cup of tea was a mainstay.

Of course I quickly learned that there was a ritual to the properly brewed cup of tea, as well.  First and foremost, we had to have the right kind of tea.  For us, than meant black tea, loose, in individual tea bag and packaged for sale by the Red Rose Brewing Company. Each tea bag could be used once, and only once.

Black Tea relief print- leaves in a flow-through tea bag.  Tea bag, string, tag and staple are Black Ranger ink on tan Strathmore 400 series paper covered with a single coat of white gesso.  This is one of the few relief prints that has been made using two different carved blocks and aligned for printing with register marks.  The tea leaves inside the bag make up the second block.

The process started with the kettle of water.  The water had to be heated to a rolling boil so that the whistle on the kettle would scream.  A gentle boil or evaporating mist meant the water was not warm enough.  Next, 3 or 4 ounces of this boiling water had to be swished around the cup to thoroughly heat the interior.  This water was discarded.  Only now could the tea bag be unwrapped and the flow-through portion placed in the bottom of the cup, with the string and identifying tag carefully drawn outside the cup and secured around the handle.  This help to avoid the terrible "string and/or tag in the water" incident.

Once the water in the kettle had been returned to it's screaming status, it was time to pour gently on top of the anchored tea bag.  After a minimum of 3 minutes, the bag could be teased up and down in the cup to coax out all of the tea flavors, BUT never should the bag be pulled so high as to be out of the hot water.

Four to five minutes into the "steep," and the bag could be carefully cradled in the bowl of the spoon and squeezed with the strangulating string, before being discarded, this officially signifying..............

"Tea Time" - Mixed media double print made up of Black Ranger ink printed on tan Strathmore 400 series paper.  A second print was made on multi-color paper and pieces of the second print were carefully cut out and glued to the first print to create a filled tea-bag with colorful tag. 

Merry Christmas!

I am happy to report that the Christmas goose below is enjoying a wonderful Christmas day in the barnyard, among family and friends!(  Did you know that the traditional fowl for the Christmas meal is actually goose and not turkey....turkey is reserved for Thanksgiving.)

Barnyard Christmas Goose - Ranger black ink with FW acrylic inks featuring hand painted ivy embellishments on 400 series Strathmore printmakers paper.

I hope you are also enjoying your Christmas Day surrounded in your "barnyard" by family and friends.   

Merry Christmas!!!!

Feast for a ......Hmmmmmmmm

When we were first married, we lived in a little cottage near a lake.  In the late fall of the year it was not uncommon to wake up in the morning to the sounds of gun shots being fired as hunters, camped out in bird blinds before sunrise, gained first line of fire on migrating ducks and/or geese.

As the days progressed, we often watched large flocks of geese, in "V" formation, hover in for a landing on the open water just off the shoreline of the small lake.  One weekend, a neighbor decided that with so many geese afloat in the water, one wouldn't be missed, and he resolved to select a bird well suited one for their meal.  Shortly after this decision, with shotgun in hand, Stan marched to the shoreline, took aim, and shot a goose.  Of course the 85 mobile flock members immediately took flight, leaving one flightless brother floating about 100 yards off shore.

At this point, I think the value of a dog, particularly a hunting dog trained in the skills of retrieving, became apparent.  Determined to follow through on goose dinner, Stan located one of the few remaining boats still in the autumn water, and rowed his way to the fallen goose.  Once the boat was safely returned to it's mooring, Stan had about an hour into goose recon.  On to the dressing of the goose.

Next, Stan moved vehicles out of the garage attached to his home and improvised a make-shift station to prepare the goose.   He removed the innards, located a catch-basin for collection of the fluids to be drained, and began the painstakingly slow and tedious job of removing  ALL of the feathers.

Several hours into the hunting endeavor, he announced that the goose was ready to roast and, goose dinner was just hours away.

Barnyard Goose - delighted that he lived in a barnyard and was not ever planning to make the migratory flight south.  Sorry to hear about his Canadian cousin, however, who wasn't completing the trip either. 

Stan was not sure whether it was the smell of the goose fat, the smells remaining in the garage, or the little bits and pieces of shot distributed throughout the poultry, but in the simplest of descriptors, this was NOT the ideal feast Stan had hoped for.  In fact, the next two days Stan spent agonizing over the effects the goose meal had on his system.   It seemed like such an affordable meal at the beginning and the price he paid was so great .....in the end.  (get it????)

Simply Barnyard Goose

This is one of the quickest block I have carved in the animal series.  Only a few details remain,  so the majority of cutting is removing those areas that will not receive ink for printing.  As I mentioned in my last post, it was important to removed pretty substantial pieces of this block so that the final print was clear and free of stray/random ink marks.  The first chunk to go was the lover right hand piece that still had potential to be used for another, small project. 

Barnyard Goose - Modify the block with the goal of achieving a series of clean goose prints when the final carving is complete.

It wasn't long before I realized that almost all of the non-essential material would need to be removed if the final print was going to work.  It's a good things that I left a few of the vertical feather lines on the neck, otherwise a clean print would have have been impossible.  Why, you ask?????  Without the vertical lines suggesting  feathers, the space between the right and left edges of the neck is very wide; it is as large as the piece removed from the lower right had corner.   In the places where the "V" shaped cutting blade did NOT gouge into the material as deep, the crests that remain would easily pick up ink.  This problem is even more intense if a very narrow roller (like the one in the blog header image at the very top of this page,) is used for inking.  With the narrowest of rollers, the edge ridges of the neck lines are too far apart to float both sides of the roller.  Once one side of the roller drops down into the interior of the neck, ink is transferred to all crests in the area.  It is almost impossible to keep the paper being printed on from touching some, or all, of these inked crests.

Two strategies might help avoid this problem - but neither is a sure thing:  The first strategy is to use a wider roller for this type of block.  The outer edges of the roller would need to extend complete outside BOTH sides of the block being inked.  The second strategy is to print on an extremely rigid paper, such as a 500 series Bristol; again, no guarantees, but these two strategies might help.  The down side, primarily in using Bristol paper, is the lower quality of the print,and the greater challenge if the next step is to hand color or paint.  

Barnyard Goose - Emphasis on the material removed to increase the likelihood of an clean, acceptable final printed image.

As with all forms of creative expression, a combination of planful creation, sequential experimentation, and willingness to "try something different" is beneficial!!!

Barnyard Goose

While visiting the Amish petting farm, I noticed that one of the star attractions was the large, white goose.  She was an eager eater, yet gently approached each new, little hand filled with pellets of food.   She stood amazingly tall - with neck extended, almost 4 feet. I began by sketching her entire body, but quickly switched to focus on the top of her neck and head.

Barnyard Goose - Pencil then India ink on tan Strathmore 300 series paper. 

As you can see above, there are several layers of work included in this image.  I began by tracing the relief block on the tan paper.  Next, I drew in the pencil sketch of the goose head.  Finally, I used black India ink to emphasize the essential lines in the pencil drawing that were to be the focus of the soft graphite tranfer.

Barnyard Goose relief block - Speedball relief block with initial carving pieces removed.  Note, soft graphite transfer lines are still very visible. 

I found all of the vertical lines on the neck of the goose to be distracting.  I began drawing them all in, then decided to omit most of theme and keep to lines clean and uncluttered.  Because there is so much of this block that is not a part of the relief print, much it will be cut away - ideally I will be able to salvage some of the pieces for another, smaller project.  You may have noticed that the piece in the upper right hand corner of the block has already been carved; this piece will probably be discarded, but there is hope for the larger piece in the lower right hand corner that is virtually uncut with the exception of the outer, top edge. 

Tilly - color variations

One of the nice aspects of working with acrylic inks is the ease with which colors can be mixed and diluted.  Many of the non-pearlized version of these inks are transparent and hold their color intensity when dry; they do not migrate with the addition of water or additional ink.  The addition of yellow highlights to the upper snout were visually appealing......

"Tilly" in Relief - color study using Ranger black ink and various combinations of FW acrylic ink on 300 series Strathmore printmaker paper.

but the blueness of the green maintained its storybook quality.

The color I found to be the most gatorish was mixed by removing most of blue and mixing the yellowish green with black and water.  The resulting green is much closer to the second tank alligator at the aquarium, the massive companion to Tilly, who was simulating log flotation.  His muted, mossy green color, combined with the rough, dull texture of his hide, made him difficult to see AND a little startling to discover as you scanned the entire tank........kind of like fixing your eyes on the approaching fin in the ocean as you float in your dingy (are you hearing JAW music now???)

"Tilly" in Relief - Black Daniel Smith relief ink with mixed FW acrylic inks on Strathmore 400 series printmaker paper.

In addition to the mossy green color, it is the contrast of light and darks that help this version of Relief Tilly pop.......visitors beware! 

"Tilly" in Relief - #3

I am not sure that the emphasis on the eyes and jaw is enough for this image.  Several times I have gone back to look at the first pen and ink drawing, which contains much more body, forelegs, and tail.   When I remind myself that the two images are for different applications and different purposes, it helps......

Add caption

Notice in the print above that there are shadowed contour lines above the far, flared nostril and around the place where the top and bottom jaws come together at the tip of the snout.  I made a decision not to carve these lines out - at least for a while- and see if they create a little dimension or vibration when color is added.  One of the beauties of relief carving is that you can always go in and take more material away......the down side to that.....you CANNOT go back in and add anything...once it's gone, it's gone!  (OK, it is possible to go back in to every print and draw in a missing piece......when carefully done, it is almost impossible to tell that an image has been altered in this way, as opposed to printing.  Be careful when two prints, altered in this way, are studied side by side, however........)

"Tilly" in Relief - color try #1 - Blacker ranger ink with FW acrylic inks added for all color, on 400 series Strathmore printmaker paper.

Although most of us think that all alligators are green, Florida alligators are actually verigated shades of light and dark gray; think of a pile of sea shells that have been heaped about 20 feet off the highest water line for about 2 years, and you have the color of a Florida alligator.  Above is my first attempt to find a color that would combine stereotyped color AND something remotely close to "color in the wild...."  or....color in the aquarium.

As you can probably image, the glints in the eyes under the bright beams of indoor lighting were very glisteny and white.  The teeth, however, were not very white, but VERY prominent.....think "...the before version of a Sonicare electronic toothbrush" commercial, and you have Tilly teeth.

"Tilly" in Relief - color try #2 - Blacker ranger ink with FW acrylic inks added for all color, on 400 series Strathmore printmaker paper.

While the color variation in try #2  are more visually appealing, particularly on the forehead and eyelids, this version is too storybook in color, making her look less deadly and menacing. 

"Tilly" in Relief - Continued #2

Once the image had been transferred to the Speedball softcut material, I began removing all of the pieces of the block that would not be inked for the final image print.

"Tilly" in Relief - the carving stage.   This block has been inked once to pull a proof and look for areas still needing removal. 

Upon close inspection, you will notice several areas that have changed from the initial sketch.   Some of the texture lines have not been included on the carving, particularly along the lower jaw.  At one point these were carved into the block, but the proof print was too busy; the lines were distracting.  Did you notice that even more of the body, arms and tail have been omitted?  This image has become even more focused on the powerful jaw and eyes.  Because the eyes seemed to be the connection to the outside world in the aquarium, I really wanted to have this feature dominate the print, as well.

Did you also notice that the upper left hand corner of the block has been removed.  As with many carved blocks, a large area like this, that does not contain essential character or image features, is very prone to picking up streaks of ink that transfer to the print.  While these lines are sometimes desirable, the proof print did not appear clean and alligator focused with the distracting scratches and portions of lines.  Removing this part of the block removes the opportunity for the highest points in the cut-aways to grab ink.

"Tilly" in Relief - Proof #2 printed on Strathmore 300 series printmaker paper, India ink sketch (prior to transfer) on Strathmore 400 series tan paper, and and the final block, inked and ready to print. 

"Tilly" in Relief

I fondly named one of the alligators at the Tampa Aquarium "Tampa Tilly" immediately after my first visit.  She appeared to have strategically wedged herself as tightly as possible against the viewing window in a vertical position.  Her head was completely out of the water and she made eye contact with every approaching visitor.  Her seductive, wide, toothy smile made her appear to be very happy you were visiting and her mesmerizing stare seemed like a direct invitation to jump over the 6 inch-thick window and dive in for a visit.  While her tank-mate practiced log-flotation simulations, Tilly was in the forefront of the social scene.

Since that initial visit, I have drawn, painted or carved more than a half-dozen alligators.  There is something about their primitive attributes and bumpy, segmented surface that in intriguing to create on a two-dimensional surface.  Below is the relief version of "Tilly."  As you will see in the images that follow, the traditional steps that are essential in the creation of a black-line relief print are in order and will end with a couple of versions of the hand-painted relief print.

The first step is the sketch.....

"Tilly" in Relief - Pencil sketch on Strathmore 400 series tan paper.

This image is very reminiscent of the original "Tilly" pen and ink drawing.  The end of the snout is a little thicker and the depression down the central portion of the snout is deliberately more hollowed-out.  I think it will be more challenging to create a contoured, rough surface with the relief method.    Because I wanted to emphasize both the meatiness of the upper jaw AND the transfixing eyes, I decided to minimize the body, forearms and even the details on the tail; all of which were more prominent in the original pen and ink.

"Tilly in Relief - India ink over the original pencil sketch in preparation for adding soft graphite to the transfer sheet.

Using the darkest India ink in the Pentel pocket pen, I went over the key lines that would make up the relief portions of the block to be carved.  It was from this drawing that I attached the transfer paper and began using the 6B soft graphite pencil to retrace the important lines to be transferred to the block. 

Window on the School Below.....

Since Snook are seldom found "solo" in nature, I decided to continue the growth of the school in my relief prints, as well.

Snook Relief print - Ranger black ink on Strathmore 300 series printmaker paper.

You've probably noticed a difference between the last two relief block prints, and this one, however.  You probably noticed that all of these fish look remarkably alike and not just "very similar," as in the past two blocks.  This print is actually created from a third carved block and is the same block printed in a staggering pattern five times.  One of the obvious pros of this type of printing is the opportunity to vary the overall image every time a print is made.  A hidden con that accompanies that pro is the multiple opportunities to smudge a previous print, print on top of a previous print, or create an unappealing pattern.

Snook Relief Print - The School - Black ranger ink on 400 series Strathmore printmaker paper.

For example, if you look at the top three fish on this print, the overlap is ALMOST too much to make the image work well.  The right addition of color will make this print work.  Because all of the fish are exactly the same size, it is difficult to create depth, even with the forced overlap.  A little overlap, as seen in the second and third fish from the bottom, actually created a "little" more depth than the more dramatic overlap of the top three.

Snook Relief Print - The School - Black ranger ink on 400 series Strathmore printmaker paper, and hand painted with FW acrylic inks.

The printing effect that makes this print work the best of these three examples, is placement.  By placing some of the fish either entering or exiting the window of vision, they appear to have some depth AND to be moving.  For so long we have been conditioned to think that all of an image has to be in our window of vision, and yet in real life this is rarely the case.  The location that forced me to think of placing the fish in this pattern was the aquarium.  In that environment, you stand in front of a window, looking into a tank.  As the fish swim by, you are able to see only that portion of the fish that in front of the window - that portion behind the brick and concrete is not visible.  It was a good reminder for me that in the creation of an image, the artist can also vary the entrance and exit points to mirror life.

These colors of these modern snook bare little color resemblance to their silvery kin in the Gulf estuaries.  I'd like to think these are a little happier being able to swim net-free in their relief-print world!

School Growth

When both of these smaller block were completed, my first project with them was to completely print a left and right page spread of a 9" x 12" sketchbook, for a final page that was 12" x 18".  At that time, the main color for this massive school of fish was silver in a combination of primary blue and aqua blue water.  I wish I still had that image to share here because it looked very much like the view over the bridge.  Combining the smaller blocks helps the school grow and looks very natural.

Relief blocks #1 and #2, combined - Ranger black ink on Strathmore mixed media paper.

Fortunately the size of the carved fish reliefs are close enough that they can look like they are part of the same school.  In fact, they are so close that they do not easily lend themselves to creating depth or distance.  On a larger printing surface it is possible to stagger their placement, however,and make their grouping look a little more natural than this "line-up."

Below, the colored version is a little whimsical, but the perfect example of modifications that can be made to the original relief print. 

Snook relief blocks #! and #2 - Ranger black ink and watercolor paint on Strathmore mixed media paper.

Wouldn't this make a great background sheet for a print like the trout (from an earlier post,) or a Snook of the trout proportions? 

Snook variations

When snook are pulled from the water they are a silvery gray from the tip of the tail to the tip of their mouth.  I decided to experiment a little with color, however, since I was hand coloring.

Snook relief block #1 - color variations.  Ranger black ink and watercolor paint on Strathmore 300 series mixed media paper.

I decided to try a cooler combination of colors on the second color trial and compare the two.

Snook relief block #2 - color variations.  Ranger black ink and water color paint on Strathmore 300 series mixed media paper.

While neither set of colors is true to the real coloring of real snook, each set conveys a different tone and message and could be used in different situations.  I want to combine these block in one printing next. 

School's IN!

When walking to the Gulf of Mexico along the series of bridges at Lover's Key, we encountered a man snook fishing.  Because of the structure of these fish, they also look so disgusted and so it was not difficult to imagine their contempt for their captor as they were netted and hauled to the bridge decking.  Upon returning home, I began sketching snook.

I started with one, but realized that, even as I gazed over the bridge railing and into the water, they were traveling in a school.  I quickly added a partner to suggest schooling behavior.

Snook relief block #1 - Ranger black ink on Strathmore 300 series printmaker paper.

Above are the first two snook that I sketched, transferred and eventually carved into a relief block.  These need school companions, so.......

Snook relief block #2 - Ranger black ink on Strathmore 300 series printmaker paper.

these two were made into a second relief block.  I am not sure why I decided the fourth of the school should appear to be happy - clearly all of those that were bridgeside were NOT! 

Of course, one of the advantages of making individual blocks is that with a little planning and "masking," they can be combined as if they always belonged together! 

Ingersoll 24 Tribute

Although I remember my mother and many of her friends having a small alcove to display an Asian-themed art-grouping, I am not sure koi ponds were are part of this trend in the mid 20th century.  As Mrs. Ingersoll talked about the work she and her late husband had dedicated to the fish pond, I realized that it must have been created  in the mid 1940's, or perhaps a little earlier.  When the Ingersolls had first moved into their Detroit home, they had a large vegetable garden, some chickens AND designed and installed the fish pond...this was the ornamental part of their yard.  She explained that all of their neighbors had vegetable plots and it was like a series of small hobby farms.  It was really a surprise for those of us listening to her tell about her history, because we perceived the area as so urban and citified.....it's DETROIT!

Tribute to the Ingersoll "goldies" - Daniel Smith relief ink, mixed.  Handpainted brusing on  FW acrylic inks on Strathmore 400 series printmaking paper.

As with many hindsite ideas, it would be wonderful to go back and ask her dozens of questions now about her history, the history of the area and life in general.

It is a good time to remember that those of us who still remember our history would be wise to capture it someplace tangible in the event that someone 50 years from now might be interested in knowing........something about "back in the days of 2015....." 

Muskie on the 180 - continued #4

Because the original fish was so mashed-potatoes-pale, adding different colors will add personality to the otherwise blank Muskie.

Muskie in the 180 - Black Daniel Smith ink on 300 series Strathmore watercolor paper.  Color added with a brush using FW acrylic inks. 

Starting with variations on the purple, I added aqua and some shadowing along the body.  You may also notice a little texture in the body of this fish; it is printed on a watercolor paper instead of the smoother printmaking paper.  In the case of the fish, the texture is a nice quality, however when this print was completely dry, it was also buckled from the moisture.  I have had very little experience with watercolor painting, so don't know if it was the paper, operator error, or if there is an easy fix, like misting then pressing......interesting effect..............

Muskie on the 180 - color variation #4

As I mentioned earlier, the side view of this fish looks nothing like this foreshortened view as he made a 180 degree turn and was caught mid-turn.  In this position, the image made me think of a very large goldfish.  I immediately thought of my childhood neighbor, Mrs. Ingersoll.

In the farthest portion of the Ingersoll back yard, away from the house, Mrs. Ingersoll had a large concrete fish pond.  Each spring, she would select one sunny, warm day to cart bucket after bucket full of sloshing "stuff"  from her basement, through the back door, down the steps and across the yard to the pond.  Once there, she would set the bucket down, put on her waders, enter the pond and then gently move the bucket into the pond and tip it on it's side.  She made trip after trip to the pond, each time completing the tipping process, well into the afternoon.

Once we were allowed to visit, we learned that each trip completed the spring migration for one large goldfish or a pond lily AND that this processional had been replicated in reverse order, the fall before.  In all, there were almost two dozen large golden and orange fish and about a dozen water lilies clumped in one end of the pond.  The golden fish, above, reminds me of one of the Ingersoll 24;  smug, plump, and confident under the protective watch of the elderly, bucket-brigade Ingersoll who had raised these massive beauties from two-inch minnows......who knew they would grow so large after a dozen or more years???...well, obviously - Mr. and Mrs. Ingersoll did!!!!

Muskie on the 180 - continued #3

It's fun to compare and contrast early and later prints.  In early print on the left, I can see places where the block material has remained and picked up ink to deposit.  Most of these places run parallel to an exterior line, and usually involve a pretty tight curve.  I can see where I made the curve in the fish just fine, but left a telltale shadow line in the parallel.

Muskie on the 180 - Two editions to show the transition of modifications.  Both prints use Ranger black ink on 300 series Strathmore printmaking paper.

In the print on the right, the shadow images have been removed and the print is cleaner.  I always plan to pull at least one early print, sometimes prior to even completing the carving process, just to catch these tiny shadow spots that are difficult to see until the block has been inked.

Once the block is pretty clean, it is time to start experiment with color.  I usually start with adding colors that fit the image in my mind's eye, as in the version below.

Muskie on the 180 - Color set #1.  Black Ranger ink, Derwent Inktense pencils activated with water on Strathmore 400 series printmaking paper.

Right away I felt these colors were too pale, even though the subject in the fish tank was almost albino in coloration.  Next, I jumped to the FW acrylic inks for a more intense look.

Muskie on the 180 - Black Daniel Smith relief ink with FW acrylic inks on Strathmore 400 series printmaking paper.

Much more intense and a better image to use on the cards I am putting together - both in giclee and original form.  This version is more reminiscent of the lighting in the tank in Duluth, but next it is time to experiment with other color options.

Muskie on the 180 - continued #2

Once the block was carved, I tried a proof print and quickly realized that there was so much blank space around the tail, that it would be almost impossible to get a clear print.  For that reason, I returned to the carved block and cut away areas that were not needed for the relief print around the tail.

Relief block with one modification - Speedball softcut inked with Ranger black ink.

For now, I will leave this slight edge outside the top and tail of the fish, but could still cut away more block material if it becomes problematic in the printing process.

Muskie on the 180 - From left to right, proof #2, Speedball softcut block - carved, and proof #3.  Both prints have been printed on Strathmore 300 series printmaking paper.

Muskie on the 180

On a visit to the Duluth aquarium, I sat to make a quick sketch of a very pale fish making his large sweeping path just off the bottom of the two-story cylindrical tank.  Just at the moment the fish began to make a 180 degree turn, I caught the overlap of the head and tail.  This resulted in a tremendously foreshortened version of the original 30 inch muskie, turning it into an albino carp.  The lighting in the surrounding area added to the mystical quality of the watery deep, and the result was an acrylic painting of a mystery fish.

I was so intrigued with this image, that I decided to also try to create the image in a relief print. 

Initial sketch for relief print Muskie on the 180- notice lines extending outside the block boundaries and the India ink modifications on Strathmore 400 series paper.

This sketch and modification provides the perfect example of how I transition from the initial idea to one that can be transferred to a block for carving.

Muskie on the 180 - Modifications to the original sketch for relief printing.  Pencil, India ink and FW white acrylic ink on Strathmore 400 series tan paper.

Because there were additional changes I wanted to make to the original sketch, I worked right on top of the original with both black India from a Pentel pocket pen and white FW acrylic ink with a small, liner brush.  I decided to work outside of the block boundaries on the left because there is a gap in the boundary on the right between the fish and the block edge.  It will probably take some carefully transfer lines to ensure a fit on the actual block prior to carving.

This sketch above also reveals one of the drawbacks of using a non-white ground for the initial sketch.  Rather than mixing a color that matches the Strathmore tan paper, I used white to reshape the location transitioning the body into the tail on the drawing.  Unfortunately, using the white makes the correction look like a highlight.  Of course, this won't appear in this way on the relief print. 

"Here's To You," variation #3 AND which is your TRIAD of choice?

Here's to You - Daniel Smith black relief ink and Schmenke gouache paint on Strathmore 400 series printmaker paper..

Of all of the versions of the Bloody Mary I have hand painted, I think this on is my favorite. The colors are bold, the four different colors of green are indicative of the differences in the cuisine, and this particular color of red is most like the tomato juice in the mix.  As I mentioned in the earlier compare/contrast post, I think the tabletop color of mango-orange sets a nice contrast to the green, as well.  The fact that the tone of the red is very blue also helps move this triad toward a combination of all secondary colors....almost (the red is too primary to say secondary with conviction!)  I think my brain appreciates the secondary triad (orange, green, purple,) more than the primary triad (yellow, blue, red.)