Some work just demands to be viewed up close — especially the work of Vija Celmins. I was able to see a retrospective of her work at The Met Breuer in New York City recently. Numerous guards looked nervous as I surveyed her drawings and prints closely.Continue reading “Seeing Vija Celmins Up Close”
Getting the color of your art right online is complicated. When I first created a website, I naively believed that I could just take a digital camera image, upload it into my image library, and post it directly to my web page. The results were shocking. My work looked dull and my colors were off.
Many years later, with the generous guidance of my photography and tech savvy husband, I have a strategy that yields online images that are fairly close in color and tone to the originals. Since this is how many people first experience my work, accuracy is crucial. I am certainly not an expert on this subject, but I’m sharing what I do in this blog series in hopes that people will find useful tips for themselves.
Underprinting. Yep, that’s a thing. I have always envied oil painters who begin their paintings with loose gestures of colors — sometimes in a complementary color. The white of the printing paper can be daunting, and I am always looking for ways to create more depth and texture in my work. Enter the underprint.
When I created my new linocut Treasure of Great Price (see below), along with the companion Pandora’s Paradise, I wanted to experiment with something printed underneath that would provide movement and depth to my topography. I have also been thinking about the topographies that humans create — like mountaintop mining — and how harmful these can be to the earth. So I decided my underprinting block would be a fingerprint.
Underprinting in the world of stamps and fossils…
Underprinting is used in the paper security industry — you might see these marks on stamps or paper currency. It also refers to the impression left by the footprint of a prehistoric creature, fossilized in lower sedimentary rock levels below the level of the initial footprint.
… and now printmaking…
I cut two twelve-inch blocks for this linocut, one that had the fingerprint, and one that would be reduced in my usual fashion. Because I used gold ink, the initial gold marks created a sort of resist as I printed subsequent layers, yielding an interesting texture. The marks are more visible in some layers than others, depending on tone and also hue.
My small underprinting block’s success has led me to create a 25 x 40 inch block filled with seven fingerprints. I can’t wait to see how this will appear on a larger scale. Finger(prints) crossed.
The gleaming white borders of my linocuts mean that I am fastidious about keeping clean hands and fingers. But on rare occasions, getting my hands inky becomes necessary. In one of my latest linocuts, I am using many transparent layers, and needed to join contrasting pinky orange and a cerulean blue layers.
I know that a blend roll combination will yield a sort of greyish-brown, which I really don’t want. So instead I’m using a technique that I learned from printmaker Karen Kunc. Kunc is able to get many different colors and fading techniques from one block by using the heel of her palm.
Dab with the outside heel of the palm
When I use the heel of my palm, I am blending the inks slightly, but I am also removing some of the ink as well. This makes the unwanted blend of contrasts less intense when it is printed.
Reducing unwanted blending
Here is what the block looks like before I printed it. This isn’t an exact technique, but I find that if it is used in the middle of a linocut, or at the end, any variation is not noticeable.
I still have to be careful to keep the white edges clean!