Valentine's Day!!!!

Here's to you on this special day that provides an opportunity for us to show affection and appreciation for those we care about! 

Lemonade Mix relief print - Black Daniel Smith water soluble relief ink and FW acrylic inks on 400 series Strathmore printmaking paper.

This block provides the perfect example of a way  to use one relief block for different purposes simply by changing the color palette.  The lemonade mix above would be an interesting mix for the taste palette, makes an interesting mix visually. 

Lemonade Mix relief print with tablecloth- Black Daniel Smith water soluble relief ink and FW acrylic inks on 400 series Strathmore printmaking paper.

It is also an example of how the viewer works to make sense of an image immediately.  It would be interesting to ask several viewers whether they thought about the visual image in terms of color and visual appeal OR the combination of tastes of the food presented????  The image below is immediately recognizable to most viewers, so the first view is not needed to make sense of the image.

 The Real Deal - Bloody Mary -  relief print - Black Daniel Smith water soluble relief ink and FW acrylic inks on 400 series Strathmore printmaking paper.

 So what does the viewer jump to once the Bloody Mary is quickly recognized - what did you do next - think about the attached foods, think about the visual accuracy, think about where you last enjoyed drinking a bloody mary, think about the movie "South Pacific??"  The thoughts patterns are endless!  So, is that one of the values of producing and sharing the visual image????  Makes you think!!

 Happy Valentine's Day!

February 13, 2013 - Monarch 2

It was the second summer that we enjoyed the visiting Monarchs.  Although we did not see them travel to our strategically planted milkweeds, they seemed to frequent the Shasta daisies in the front of the house. 

Monarch on Shasta daisy relief print - A combination of two relief blocks.  Black Ranger ink on tan 300 series Strathmore paper.

The daily fly-by routine seemed to include a cruise through the large maple tree, followed by a loop through the highest branches of the apple tree, and a gradual spiral downward, landing on a platform-like Shasta blossom. The daisy visit might last as long as 7 to 8 minutes, before the departure flight took the visitor back into the apple tree once again. 

Monarch on Shasta daisy relief print - A combination of two relief blocks.  Black Ranger ink  and FW acrylic inks on 400 series Strathmore mixed media paper.

Every couple of days I would go to the back yard and check the milkweeds for signs of dining Monarchs or the establishment of an egg-nursery.  Much to my  dismay, neither was apparent the entire second summer of the milkweed stand despite the daily front-yard fly-bys and landing.

Monarch on dried dandilion head with airborne seeds relief print - A combination of two relief blocks.  Black Ranger ink on tan 300 series Strathmore paper.

The last two summers, the milkweed garden has continued to expand and the plants have grown tall and sturdy.  We have continued to enjoy daily visits by both Monarch butterflies and Tigerswallowtails.  Both seem to like the apple tree air-space and the Shasta daisies.  Perhaps next summer will be the one in which any butterflies make use of some of the milkweeds.  I enjoy the plants and look forward to the formation of the seed pods, but am anxious to see a Monarch or two in this part of our yard!  

February 12, 2016 - Monarch 1

Monarch on Clover relief print - Black Daniel Smith water soluble relief ink on 300 series Strathmore tan paper.  Black Micron drawing added to stalk of clover.

Several years ago we decided to collect some milkweed seeds from the nearby wetlands and see if we could start a small stand of protected milk weeds in our backyard.  I first learned of the reduction in the Monarch population at a local elementary school.  It is a science magnet site, and each grade levels studies one stage or aspect of the Monarch life cycle.  All children learn about the impact of GMOs and the negative impact on nature;s pollinators, like Monarchs and bees. 

Monarch on Clover relief print - Black Daniel Smith water soluble relief ink and FW acrylic inks gessoed on 300 series Strathmore tan paper; hand painted.  Black Micron drawing added to stalk of clover (note differences in above leaf configuration and this one.)

Setting up a bee hive just wouldn't work in urban suburbia, but bringing in a few milkweed seeds seemed like a very easy thing to do.  We assumed that  the name "...weed" implied hardy and '....will grow anywhere' and stopped along the bike path a couple of times in the fall to catch airborne seeds.

Whether the weed assumption was accurate or we were just very lucky, the spring of the following year several milkweed plants began growing and reached more than five feet by the end of the season.  Several of the stalks had flowers, so produced the easily recognized "pod."  Unfortunately, we didn't see any evidence of visiting Monarchs (insect or nobility.)

Monarch on Clover relief print - Main butterfly outline and clover  created with Black Daniel Smith water soluble relief ink on 300 series Strathmore tan paper.  Interior of butterfly wings and body are printed on patterned craft paper, then cut out.  These two prints have been combined and glued in place.  Black Micron drawing added to stalk of clover.to

The launch of the dried seeds in the fall was as expected, and we hoped for a regrowth of plants in the spring to try attracting Monarchs again.

Although the original plants may have become well established and expanded, I am pretty sure that some of the launched offspring traveled vertically to their parent's feet, because the following spring our crop had doubled and the milkweed stand was a bonefied "yard element."  Neighbors and friends who visited our back yard were curious about the appearance of renegade weeds in an otherwise weed-free yard.  Each time we had the opportunity to share the plight of the Monarch in a chemical-filled agri-world and also our hope for attracting a traveling Monarch or spotting some eggs attached to the bottom of a leaf or two.

Happy Birthday Sarah!!!

The main enhancement on the elephant are the wrinkles,  so I decided to experiment with adding some texture to the framing.

Elephant relief print - Black Daniel Smith water soluble relief ink on 400 series Strathmore printmaker paper.  Frame hand drawn using Micron .5 black tip permanent pen.

Elephant relief print with 2nd frame variation - Black Daniel Smith water soluble relief ink on 400 series Strathmore printmaker paper.  Frame hand drawn using Micron .5 black tip permanent pen.

Elephant relief print - Black Daniel Smith water soluble relief ink on 400 series Strathmore printmaker paper.  First frame variation -  hand drawn using Micron .5 black tip permanent pen.

Happy Birthday to you,

Happy Birthday to you, 

Happy Birthday dear Sarah,

Happy Birthday to you! 

February 10, 2016 - ele 1 full

I decided to try and match aspects of the donkey carving in case I decided to use the two images together  in the future.  I included the head and a small portion of the chest.  The trunk is essential to include,,  in its entirety, followed by the ears.  Dave and I debated about the degree of wrinkliness the skin should reveal, as well. I went for the well-weathered elephant look. 

Elephant sketch in preparation for carving of relief block.

Perhaps I kept thinking about the political uses possible in the future.  Since a presidential candidate  must be at least 45 years of age, I didn't want to create a youthful creature.

Head to Head - Elephant sketch with India ink outline (left, ) facing carved and inked relief block (right

Elephant relief print - version #1 - Black Ranger ink and FW acrylic ink on 400 series Strathmore printmaker paper.

Elephant relief print - version #2 - Black Ranger ink and FW acrylic ink on 400 series Strathmore printmaker paper.

Now, picture Donald Trump hair and once again the elephant has be NASTized (no, not nastyized - well, I guess it depends on your view of DT.)

February 9, 2016 - "The Debate"

The timing is right to carve a symbol for each of the main political parties.  The donkey is obviously waiting for a sparing partner for any upcoming debate opportunity, and thus......the addition of the elephant to the relief library.

Donkey relief print - Black Ranger ink and heavy body Golden acrylic paint on Strathmore mixed media paper.

It is historically appropriate that the donkey was created in advance of the elephant since that sequence mirrors their historical use. Cartoonist Thomas Nast is also credited with the use of the elephant for the repulican party (and Santa Clause and Uncle Sam.)  Almost 40 years after the donkey was introduced, beginning with the derogatory references to then candidate Andrew Jackson, the elephant image was initially aligned with a group (the republican vote,) fearful of the pending inflation and chaos created by a third term democratic term in office.

In the November election, the Republicans lost control of the House, and Nast (a Republican,) used the elephant image being caught in a trap set by the donkey (an image firmly established as "democrats.)
Cartoonist Nast continued to use both the donkey and elephant images as party "representatives and by 1880 other cartoonists has adopted the images, as well.

By 1890 the democrats used the donkey and the republican had adopted the elephant as their respective "mascots," and included these images on party literature, campaign buttons , and political merchandise and propaganda.  The  elephant is an official symbol for the party - no official status for the donkey.

If you ever wondered about the power of political cartoonists, look no further. 

Elephant Relief Print - Black Ranger ink on 300 series Strathmore printmaker paper.

February 8, 2016 - donkey 4

One of the aspects of is the finishing relief prints that I enjoy is the opportunity to add after-printing enhancements  in a variety of different ways and use different materials.

You may noticed yesterday that the initial ink color was purple.  The colors added to the resulting relief print were actually in the purple range.  The donkeys below were both printed with black ink and the range of colors used to complete both of them is predominately gray.

Donkey in black and grays - Relief print created with Ranger black in and FW acrylic inks on 400 series Strathmore printmaker paper.

Donkey in black and grays - #2 - Relief print created with black Daniel Smith water soluble relief ink and golden acrylic paints on 400 series Strathmore mixed media paper.

I decided to go with a denser bodied paint to complete the second donkey on this page.  There is an appropriate use for both images, but the use of different mediums clearly results in different effects.