January 31,1 2016 - sheep 2

In the Spinning and Weaving group, there was a woman who had moved to the United States from Australia.  She had always either lived on a sheep ranch or in a location where she maintained a small herd of her own.  She enjoyed researching wool types and bringing sheep into her herd to create hybridized wool types.

Sheep - print pulled from original block.  Ranger black ink on 400 series Strathmore printmaker paper. 

When she moved to Iowa, she was very outspoken about the inferior wool quality and limited varieties of wools in the US and quickly worked to import some of her prized Australian herd.  I think the Iowa sheep owners, who had also been in the field (no pun intended,) for a long time, were quite offended by not only her need to import, but also her outspoken disdain for the Iowa herd.

Sheep - Daniel Smith black water soluble relief ink and FW acrylic ink on 400 series Strathmore printmaker paper.  Notice that revisions have been make to the block prior to making this print.  This is a later print in the series after 3 or 4 revision.

Although I know these heated discussions were difficult for all of the sheep owners involved, I have to say I learned a lot about the characteristics of wool by listening carefully.

Sheep relief print emphasizing long fibers in the wool - Daniel Smith black relief ink printed on Strathmore 400 series printmaker paper.  Background handpainted with FW acrylic ink.

The handsome sheep here is intended to show the long and kinky-curly strands of fiber that make up a good sheep wool.  In the annual shearing, the sheep would finally be able to cool down in the warm spring days, and the spinners were busy carding, spinning and weaving!

Sheep relief print emphasizing long fibers in the wool - Daniel Smith black relief ink printed on Strathmore 400 series printmaker paper.  Background handpainted with FW acrylic ink.

I was ,surprised to hear recently, that the price of sheared wool is very very low.  I can remember paying seven or eight dollars a pound for raw wool (you get a grocery bag full.)   I wonder if that means the price of hats, scarves, and sweaters will be going down next fall................seems unlikely!

Once again, notice the subtle differences between the first sheep and the last.  These differences reveal the changes made to the original block through the process of printing, revising, printing, etc. 

January 30, 2016 - sheep 1

I really knew very little about sheep, other than the service animals honored for their wool in nursery rhyme more, until we moved to Iowa.  There were a group of women there who raised sheep for their wool for the purpose of carding, spinning, and weaving, knitting, or crocheting the fibers into fabric. 

Sheep relief block inked with black Daniel Smith water soluble relief ink - first run.

I quickly learned there was good wool and bad wool, based on the fiber "kink" and length.  Long fibers with many crimpy, wavy bends zigzagging close together on a single fiber strand is highly desirable.  This particular group of spinners and weavers preferred to work with the wool "in the grease" for ease of handling. 

First cut relief block on the right.  Print of first cut print on the left with planned revisions marked out with white China marker on the left.  Note the differences between the two - additional material will be removed from this block.

Nature originally provided the thick coat for the sheep to protect it in cold weather.  It follows that in the spring of the year the coat would be the thickest and the fibers would be  longest; this is shearing season.  Once hand done with special hand-tweezer-style scissors, long ago shearing made the transition to power tools.  The goal is to cut the hair as close to the skin as possible, without nicking the skin, to "harvest" the longest fibers possible.

This group then gathered the wool and began carding.  A card is a steel-tined brush on a flat wooden paddle.  When a small hank of fibers are placed on one card, the other card in pulled over the fibers, and in a 180 degree motion to the holding card.  With a carding paddle in each hand, the card tines are aligned and pulled horizontally, in opposite directions, as many times as it takes for the fibers to be aligned and cleaned of any debris.   This small handful of fibers is now called a noil, and in placed in a holding container.  Since many, many noils are needed for any spinning, weaving, knitting, etc. project, carding used to be one of the job responsibilities of children in a busy household.

Today, there are automated carding machines, hand crank carding drum, and the tried and true carding paddles to complete this important task in the production steps of using raw wool.   For the weaver who used a lot of wool, or dyes several colors, etc. the noils are loosely twisted into finger-diameter strands called rovings.   One or more bundles of rovings can be handles at once for dying or scouring, so that the work is more efficient and the product quality and characteristics are more uniform.

Scouring is the process of removing most of the sheep oil, or lanolin, from the fibers.  Many hand spinners prefer to leave the lanolin in the fibers until the spinning is complete, which is called, "spinning in the grease." 

Early print of original relief print.  Several revisions followed this initial run to improve the image!

If you have ever tried a hand lotion with lanolin, you have probably enjoyed its moisturizing and softening effects.....you have also discovered why "in the grease spinning" is preferred! 

January 29, 2016 - pig 3

I am savoring my water soluble Daniel Smith relief inks in primary colors and take great care to use the ones I have sparingly because they are no longer in production (much to my dismay!)  As you can see in the picture below, the mixed color of the ink is the same color as the Speedball block material - bubble gum pink.  This is one of those experiments in manipulating colors for effect.  The images below have been printed using the Daniel Smith black relief ink.  The technique for inking is the same, regardless of the color, however.

Preparing and inking the carved block.  In the uppermost portion of the picture, two colors of Daniel Smith water soluble relief ink have been added to the mixing plate and combined to form pink.  The new color has then been rolled to the proper texture and viscosity and rolled onto the relief pig image on the blocki.

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Inking the block with mixed pink Daniel Smith water soluble relief ink using 2" speedball brayer

Relief print of pig inked in black Daniel Smith water soluble ink.  Print has been hand painted with FW acrylic ink.

Relief print of pig inked in black Daniel Smith water soluble ink.  Print has been hand painted with FW acrylic ink.  (FW acrylic ink colors used are different in the two prints shown above.)

January 28, 2016 - pig 2

In the field of entertainment, I would have to include Babe in those making positive contributions.  Not only did he set goals and work to achieve them, but he was a problem-solver AND and collaborator.  His communication skills fostered a positive relationship with the sheep, for example, which allowed he and his farmer to win the herding contest. 

Pig relief block and transfer paper.  On the right is the transfer image taken from the original inked sketch.  On the left the image of the pig can be seen transferred onto the Speedball block, ready to be carved.

So are pigs really good thinkers and problem-solvers?  I believe researchers would say "Yes!"

Pig relief block - Speedball carving tools in the upper left hand corner, cutting handle with small v-blade on the left, carved relief pig ready for inking in the lower/central bottom, and removed Speedball relief block material on the right. 

.....and I think we hear information about pigs several times each and every day that we tune in to any form of media.  Unfortunately it is usually in an advertisement for something with bacon, but......it is about some aspect of the "noble pig."

January 27, 2016 - pig

Ah, the noble pig - how we have maligned this dedicated creature in our culture.  We begin when children are young helping them associate the pig with less-than-desirable attributes........"eating like a pig," "...your room looks like a pig pen," "...don't hog all of the corn for yourself,""don't wallow like a pig,"

Original pig sketch with Micron .8 black ink on top in preparation for creating transfer sheet.

How did we get to a place where we associate the pig with such negative attributes?  Have you ever really studies a pig pen, for example - it is quite compartmentalized - a place for everything and everything in its place.  A place for the food, a place designated as the bathroom, a place for cooling and personal care, etc.  Check out how chickens (OK, free-range chickens) live, for example.  They eat and poop on the same turf with no attempt to isolate these tasks.  Or, how about the cow - not only do they poop  in proximity to their meal, they proceed to walk around in it and when combining it with straw, find it to be a warm bed.....a pig would never allow this type of environment if there is sufficient space to create compartments.

 Pig transfer sheet, ready to locate on Speedball relief block.

And then there are the contributions the pig has made to benefit man, such as in the field of medicine.  I wonder how many people can thank a pig for sharing a heart valve or artery.  Early attempts at transplanting heart parts published out of the Universities of MN and MICH included references to the use of various pig parts.  The pig helped medicine advance - made many life-saving innovations possible.

And then we can't forget pigs in literature.  Wilbur, in the barnyard, became the star at the county fair thanks to a loyal and savvy spider.  It does seem odd that in an entire community not one person applauded the work of the spider, and instead credited the pig with personified talents!

There is probably no character that has done more to change cultural thinking about the pig than "Miss Piggy."  Thanks to the clever thinking of Jim Henson, the much maligned pig was elevated to diva and developed into the love interest of a frog.  Miss Piggy wears make-up and jewelry, couture knock-offs, and carries a purse (not ever to be confused with a "sow's ear.")  She has done more to elevate the perception of the pig than any other piglet in history! 

Pig sketch transferred to relief block and ready to begin the carving process.

Reminder:  in the carving process, everything that will not pick up ink must be removed so that only those portions of  material in "relief" (or raised up) that remain will catch applied ink and be ready to print to any paper (cloth, glass, etc.) it touches.

January 26, 2016 - Ostrich 3

Ostrich proof print #1 - Ranger sepia ink on 300 series Strathmore printmaker paper

OK, it's unlikely that ostriches will ever be fitted for contact lenses; I suppose it would first be necessary
to determine if they are needed.....poor vision does provide a logical explanation for the quirky mannerisms, however.

Ostrich relief proof print #1 hand painted with FW acrylic inks.

Ostrich relief print - Black Daniel Smith water soluble relief ink on 400 series Strathmore printmaker paper.  Color hand painted using FW acrylic inks and enhancements added with black India ink using Pentel Pocket pen.

January 25, 2016 - Ostrich 2

I am not really sure if the "attitude" of the ostrich is really attitude or a vision issue.....

Ostrich transfer paper

Visitor to Ostrich handler:  "You seem to spend a lot of time in the giraffe and ostrich enclosure; can you share what a typical day is like?"

Ostrich handler:  "Well, I begin by catching each ostrich and working to insert contact lenses - we found that the glasses just weren't working for either bird."

Visitor - "Contact lenses - how did you get started in that line of work?"

Ostrich handler:  "My first work with birds using contacts was in chicken transportation.  I was one of several staff members who inserted the pink contact lenses in chickens so that they would be calm during shipment to poultry farms."

Ostrich Speedball block in the carving stage - lots to go!

Ostrich handler - continued:  "It's challenging enough to get the lenses in, but the real trick is catching the birds again at the end of the day and removing the lenses......it takes a substantial portion of my day to tend to the needs of these ostrich!"

Visitor:  "Has anyone considered lasiks, or at least extended-wear lenses.....?"

Ostrich handler:  "...could you drop those ideas into the suggestion box near the exit door - you'll excuse me, it lens removal time....?" 

January 24, 2016 - Ostrich with Attitude

Attitude - it's all about "attitude!" I think it is so interesting that the ostriches share an enclosure with the giraffes at the Como Zoo.  Out in the middle of the dirt yard that is primarily giraffe "turf," is a pile! of 7 or 8 ostrich eggs.  I assumed they would be in a nest akin to the one depicted on Sesame Street for Big Bird.....  No!  It's just a pile of eggs sitting on the dirt with no protection around or underneath. 

Como Ostrich with Attitude - Original pencil sketch with black India ink overlay on tan Strathmore 300 series paper.

I was also surprised that the giraffes not only ignore the eggs, but seem to make an effort to cut a wide path around them.  Here are these beautiful, large eggs that are so vulnerable, just lying on the ground, and life goes on around the them as if they don't exist.  Not only do the giraffes ignore them, but so do the ostriches.

Como Ostrich with Attitude - Transfer paper image in preparation for block transfer.

The wonderful attitude these birds display as they strut  around the enclosure, is something I wanted to be sure to capture. 

Como Ostrich with Attitude - Speedball relief block with transfer image in the early stages of the carving process. 

I recall a wonderful picture in National Geographic years ago in which an ostrich head was level with it's feet.  The thing I recall the most is that the size of the head was dwarfed in comparison to the size of the feet.  I am going to explore photo images to see if I can locate the memorable image again - it was a delightfully clever view of this awkward bird. 

January 23, 2016 - Zebra 3

Although this is an inked print, the experiment here was really the use of the Derwent Inktense products.  I love their "intense" colors and the fact that once the dry inks are activated with water, they dry permanent. 

Zebra relief print - Black Daniel black relief water soluble ink on 400 series Strathmore mixed media paper.  Background showing Derwent Inktense pencils, dry.

I had used these for about six months when I started to notice that my first work with them, only a few months earlier, had already faded. A started to talk with others who were .  using a variety of mixed media materials, and discovered some people were no longer using this product, feeling that it does not maintain color integrity

Zebra relief print - Black Daniel black relief water soluble ink on 400 series Strathmore mixed media paper.  Background showing Derwent Inktense pencils, activated with water.

What a disappointing discovery.  I do still use this product, but have shifted from frequent use to very specific applications; I only use these pencils when I am planning to water-activate AND print the final image within 2 weeks.  I also move the dried image to a light-tight file within a week of completion.  In this way, I feel I can mat and frame the giclee print, BUT will not be matting or framing any original work completed with the Inktense pencils - what a disappointment! 

January 22, 2016 - Zebra

The zebra is one of the earliest relief block I created.  Notice on the first sketch that I have drawn grid lines on the tan Strathmore paper - something  frequently did to keep my sketches "square."  In fact, one of the reasons I still get excited about "back to school" sales in the fall of the year is because this is often the only time graph paper hf varying grid sizes is available! 

Zebra sketch - pen on tan 300 series Strathmore paper

The Como Zoo, in St. Paul, MN, seems to have good successing with their breeding program.  In the last few years they have welcomed a couple of baby zebras, and a new giraffe.  For the sketcher, is is helpful to note the patterns of similarities and differences contrasting the parents and the offspring.....patterns, in particular, for BOTH of these animals! 

Zebra relief print - black Daniel Smith water soluble relief ink on gessoed 300 series tan Strathmore paper.  FW acrylic ink added around ears, eyes, mouth and nostrils.

The differences between the patterning and markings on the MN and FL animals zebras and giraffes is amazing to me.  I know it really has nothing to do with their current location and is really about where the mini-herds were imported from.  Would these different groups  ever have had the opportunity to interbreed in the wild, or would they maintain the stark isolational development they experience in zoo-life? 

Zebra relief print - Daniel Smith black relief ink on 400 series Strathmore printmaker paper.

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January 21, 2016 - Moose 4

I have tried printing in both black and sepia.  Although both work for the moose, I think the sepia lends a more lifeline quality to the print.  I was very surprised to see how dark the coat of a real moose  is....it's almost like their coat is black and lightened by weather and sun bleaching in some vulnerable areas.  Their color reminds me of a brunette who has spent a lot of time in the sun and wind and suffered/enjoyed (depends on your preference) the color-changing results. 

Moose relief print - Sepia Ranger ink on 400 series Strathmore printmaker paper.

Although the carved block does not indicate the course facial and snout hair of the moose, on the enhanced print below I included them using brush strokes.  The texture more closely matches the density of the coat of the wild moose.  What is difficult to convey in a small print is the massive size of these animals.

Moose relief print with color enhancement - Ranger sepia ink on 400 series Strathmore printmaker paper and FW acrylic ink. 

I had the opportunity recently to see part of the Rocky and Bullwinkle movie.  I had forgotten this was rekindled as a combo of live actors and animated characters.  They made many references to the 30 year old version of the cartoon and provided storyline development about Whatsamatta U, Rocky's flying (still a flying squirrel,) and the clearing of the forest.  They even included voice that matched the original narrator, and developed the character's persona into the movie.  They did pay tribute to the Canadian Mounted Police, but another knock-off movie about Dudley Doright was created about the same time as the R and B movie.

My favorite part of the old program was "Fractured Fairytales."  I would love to see an update of them with equally creative writers that make you think AND lead the viewer to a conclusion instead of blatting out the "moral of the story" before you figure it out for yourself.  Even the beginning of each new story began with the  princess opening the massive fairy tale book......and then the .....crash....... was clever - can you hear that music as the book opens????  Now that was great writing!!!!!  These old gems were the animated version of the ideas Rube Goldberg contraption with a series of reaction-causing events that lead to an unexpected conclusion! 

January 20, 2016 - Moose 3

The first proofs I pulled of the moose used sepia ink....this seemed the most fitting for a moose. 

Developing the moose relief print - inked relief block with two early proof prints.  Note removed block material in upper left. 

Moose - early relief print - not high number of stray stray marks that have printed. 

I have to be sure to allow enough time to pull one to three proof prints so that I can make additional revisions, as needed.  The proof above is the perfect example of a print that could stay just "as is" for a rustic look or indicate multiple "clean-up" areas for a crisper final image.

Moose - early relief print with diluted FW acrylic ink wash. 

January 19, 2016 - Moose 2

The key in making the hair look course is to be sure each individual hair is in relief and the undercoat in material that is removed.  In being planful about this carving, the texture of the hair will add to the ruggedness of the critter - at least that is the plan. 

Moose pencil sketch with India Ink definition in preparation for transfer to the relief block.

After much thought, I did decide to leave only the beard for facial hair and leave the rest of the skull smooth.  I hope this creates enough of a contrast to enhance the shaggy, ruggedness of the body, as well. 

Moose relief block with portions carved.  Notice the definition created by the carving of each individual hair in the lower left portion of the block and under the eye. 

I am not sure that all non-artist observers are aware of how much planning goes in to the creation of one relatively small piece of art.  In fact, I was having a conversation with a pen, pencil and ink artist I ran into at a local art show.   After observing one of her drawings, a guest in her home had remarked that her drawing was simply a slick way to copy a photograph.  She was clearly offended and felt unappreciated.  

I feel very fortunate that no one has expressed anything even remotely close to this kind of statement within ear-shot to me. I just have great friends!!!!!

Moose relief block, inked with Ranger sepia ink and ready to print for first draft.  Notice there are some random peaks that have picked up ink and will probably print on the draft.  The print this creates will serve as a map for revisions.

January 18, 2016 - Moose 1

Have you ever noticed the anatomical similarities between a cow and a moose?  I hadn't really though about it much until I started drawing cows and moose....the giraffe falls into this category, as well.   Lots of muzzle area for grazing and chewing, chewing, chewing; strong jaw muscles, and angular, flat forehead with plenty of skull geography to support various stages of horns or antlers.

Moose sketch - pencil with India ink eye overdrawing on 300 series Strathmore mixed media paper. 

Moose skull in a still life and mirror reflection - Grand Marais Art Colony.

I was amazed by the actual size of a moose skull.   Last summer while taking a class in Grand Marais, the instructor brought in the skull of a female moose that she had discovered on her land.  She wanted to include it in a still life composition she was going to use in a demonstration.  In the photo above, the flower vase, top portion of the moose skull and funky party cake are on the table.  The reflection of these three pieces can be seen in the mirror image toward the top of the picture.  Amazing! 

Black India ink enhancements to moose pencil sketch in preparation for transfer to relief block!

When seeing a live moose, the thing that is so apparent is #1, the antlers and #2 the course, dense coat.  Both make sense when thinking about the 24/7 environment they must survive in! I wanted to be sure to include the courseness in the relief image. 

Moose sketch and India Ink outlining in preparation for making the transfer sheet. 

January 17, 2016 -Miss Curious in pink

It really doesn't take much color to help Miss C look more 3-d.  A little pink to the snout and inner ear, a hint of eye color and define the fence tie and she's looking perky!

Miss Curious with a hint of color - relief print using black Daniel Smith water soluble relief ink and FW acrylic inks on 300 series Strathmore printmaker paper.

Notice the difference in the appearance of both the cow and the fence on the second image below - what a difference a piece of paper can make.  Print #2 is run on watercolor paper, which has a texture.  The low portions of the paper are difficult to contact the full inked surface of the relief block without substantial pressure.  Running this block on a Vandercook Press, for example, with watercolor paper, would result in print #2 and #1 looking almost the same (provided the pressure adjustment, height of the block, inking roller, etc., etc., are adjusted properly.) 

Miss Curious - Relief print using Daniel Smith water soluble relief ink, FW acrylic inks AND Canson watercolor paper. 

Different coloring agents create different results, as well.  The print below has been run on a 300 series mixed media paper and acrylic paint has been used to add color.  This paper is not designed to use a high water content product, so it quickly buckles with acrylic paint.  Even though the fence tie has not been painted, the relatively small amount of paint added to the snout, ears and eye well have buckled this paper - that is why you see the curvature in the fencing. 

Miss Curious - Relief print on Strathmore 300 series mixed media paper.  Black portion of print completed using Daniel Smith water soluble relief ink and color added using Golden acrylic paint.

January 16, 2016 - Tribute to Miss Curious

All she needs is a tinge of pink around the nostrils and it COULD be Miss Curious.  Making this a specific cow from my past changes that "evil bovine" look to a mischievous look - well, in my mind it does. 

Miss Curious - Relief block with proof #1 in black and white.  Black Daniel Smith relief ink on 300 series Strathmore printmaker paper.

Miss Curious inked relief block.  Speedball relief block and black Daniel Smith water soluble relief ink.

Ghost of Miss Curious - White Daniel Smith relief ink on 300 series tan Strathmore paper

I like the white on Strathmore tan much better than the white on white.  With a little eye color, nose color and fence enhancements, this image could be complete!

January 15, 2016 - Moo, Two!

The personality of the cow I selected to carve lies somewhere between the evil bovine from beyond  and Mabel the dairy queen of the midwest.  The fencing is a clue that she is either a farm or fair lady and  with her snout projecting over the rail, she is seeking ....something.....a nose nuzzle, food, head scratch, forehead butt........viewer discretion. 

Cow relief block with carving handle and cutting blades.

As you can see, I haven't touched the block in the upper right hand corner, so am getting better at making an early decision to remove entire pieces like this.  I am not sure this chunk is large enough to use for something else, but it is not useful here.

This cow does remind me of my first cow encounter.  Being from the city, I knew very little about cows, or farming life, in general.  During a particularly blustery and snowy winter day, I traveled with Dave to his family's dairy farm to help take straw to the barns.  He warned me that cows were cautious around unfamiliar things, people, etc.. and that one cow, in particular, was very curious and bold.

I was fully bundled with heavy winter coat, boots, hat, scarf and mittens, and moving like the Michelin Man across the feedlot, when Miss Curious put her head down and marched my way.  I could see her coming but was clearly in her "turf" and clewless about how to dodge her approach.  I was sure she was going to plow into me and keep right on going and tried to mentally prepare for how I wanted to land, if I could negotiate a choice about that.  Miss C stopped directly in front of me, put her head down, and gently nuzzled into me.  When I put my hands up to steady myself against her massive forehead, she went right for my hands.....and began licking my red mittens.  She continued to lick until they were fully slimmed and I could ease into a safe get-away.

As I shared the gooey mess covering my lovely, hand-knit mittens, Dave simple statement was, "...I warned you she was curious - she likes your mittens...."

Lesson learned!  Thank goodness she was curious and friendly!

Cow relief in close up.  Once again, what to do with that "too big" open material in the upper right hand corner.

I think I will color at least one of the prints of this relief print to commemorate Miss Curious....it's the least that I could do to thank her for teaching me an important lesson! 

Cow relief block ready for proof #1 - honoring Miss Curious!