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!