I have been waiting patiently for my ink to dry, and was finally able to lay the gold leaf without it adhering randomly to the ink. It still sticks sometimes, so I used a stencil (or frisket to my printing friends) with the gold areas cut out to protect the rest of the linocut. I like the result — warm reflected light that is different from the white of the paper or the transparent blues.
It has been a few months since I experienced that fabulous feeling of finishing a linocut. I recently put down the last layer of ink — my favorite metallic gold — and the work was transformed. For the final touch, I want to apply gold leaf to a few of the white ripples, so the water will be rippling one way, but the sun is coming from the opposite direction.
I was all ready with my acrylic medium, my red oxide acrylic and my sizing, when I realized my folly. From my last foray into gold leafing I learned that the printing ink must be extremely dry, or the gold leaf will adhere all over the linocut and not just on the sizing. I so wanted to show the finished work in this blog, but you just can’t hurry that gold ink. Here is a partial peek at the work sans the gold leaf…
In every person’s professional life there are milestones. For some it is a promotion, for others a large grant or publication in a prestigious journal. For still others it is simply making a profit. For me it was seeing my work installed in a public location, complete with museum tag.
The Bloomington/Monroe County Convention Center purchased my linocut An Echo of Beginnings, after my two-month show at the center in June and July of 2015. During a visit with my daughter to the annual Artisan Guilds of Bloomington (IN) show, I spotted my work, installed and professionally labeled.
I’ve made plenty of labels for my own work, but seeing my name, plus “American, 1967” — why that was what they put on the labels for real artists! A bit of emotion choked me as I read this. I am so thankful (on this Thanksgiving Day in the United States) that my work can be seen by lots of visitors at the Convention Center. I feel like I have arrived.
|Topography inspired by the Himalayas. Are these mountains surrounded by water, or maybe a tropical coral?
The white highlights are actually white mica on the teal layer of ink.
|Elizabeth Busey, In Anticipation of Sweetness. Reduction Linocut,
18 x 18in circle, Edition of 16.
My exploration with gold that I admitted to in my last post has actually been going on for a few months…
In November I experiemented with chine collé, where thin papers are pasted down as part of the printmaking process. Read this post to learn more. For the actual cards, I used green and cream kitakata papers, Rives BFK as the card support, and Handschy gold ink.
|New Years cards for my collectors and supporters.
Gold ink highlights ginkgo leaves and pine cones.
|Elizabeth Busey, Yielding Gracefully. Reduction Linocut, 17 x 25″|
During my exploration of the sassafras leaf, I was operating under the assumption that the colors I see in the fall were always in the leaf, but became more apparent in autumn. For the yellows and oranges we see, this is basically true. But not for the red. The red that I found so challenging and unfamiliar is in fact produced by the leaves as a sort of battle against the inevitable arrival of winter.