I am going to be showing my work at the SGCI Conference in Atlanta this Saturday (3/18) in the Ellington Ballroom in the Loews Hotel during the third open portfolio sessions. Frankly, it’s my favorite part of the conference.
I hope to see you there. I will be selling my prints- either way, say you saw this entry and get your free Tanuki sticker! Session 1.
Since I live about 1.5 hours outside of Atlanta, I had no excuse to not attend the Southern Graphics International Printmaking Conference from 3/15>3/18. I have two etching pieces in the Terminus UGA show and will participate in the open portfolio in the Loew’s Hotel on Saturday (come by if you’re there).
The UGA show is particularly strange to me personally since it’s now called “Gallery 72” which is the same Atlanta Journal-Constitution’s newsroom building that I worked in as an illustrator for nearly 10 years from 1987>1996. The same layout, a bit changed. Weird, but glad it’s been re-purposed.
Anyway, this exhibit’s reception is Friday, March 17 from 6-9pm.
My Qufu print is finished! Ater proofing, I printed an edition of about 40 on Iwano washi- I will cull the odd “less than perfect” mistakes (I say that with some sorrow, but I’ve committed to offering only the best of the batch and cull even small blemishes, etc.).
In total, the print required eleven blocks and about 14 impressions. I will post a detail after they’re finished drying. Using the overlapping shin-hanga printing style was a challenge. It was interesting to print complementary colors (on opposite sides of the color wheel) to create neutrals such as shadows. This experience will certainly help me to plan the next prints.
I plan to have both the Django and Qufu prints (along with some etchings) at the SGCI conference in Atlanta.
I received something wonderfully unexpected- apparently, our intrepid mascot is a world traveller. A past art student of mine, Caroline Welsch carried a Tanuki Prints sticker to Paris on her trip and was nice enough to position him, well, you know where this is.
Tanuki is good luck, that is, if you have a drink with him, Caroline!
FYI, for every print purchased, you’ll receive a Tanuki Prints sticker- I’d love to see him travel from each and every corner of the globe!
I know he’ll be in Japan come May.
For more interesting facts about the actual and mythical Tanuki, or the Japanese racoon-dog, click here
So, after 10 carved blocks, and several more color impressions, here is a proof of the Qufu block. I am pleased with it, the colors are more vibrant than you see here. The first two impressions were the color gradation in the house exterior printed twice, then a shadow, the interior shadow, then the pavement, then the yellow sunshine, then another shadow block, the interior green, interior yellow, interior red, then the interior shadow bokashi. I hope to start the actual printing on Iwano washi soon- maybe next week!
I started proofing my next print- “Qufu” (see right). I split the key block (outlines) into two blocks- one black sumi the other background key block is a gradation from dark blue upward to dark brown. With these proof prints, I will then use inks and brush to simulate and anticipate the additional colors. I plan to use my earlier impression tests to -try- to be as efficient as I can with the coloring while keeping in mind that the more colors, the more blocks.
It’s a real puzzle to consider the resulting combinations of overlapping colors- plus, I know that I’ll use at least 2 gray shadow blocks (nezumi-ban) in addition to the color ones. I’m trying to follow my observations from shin-hanga prints in the fact that the blacks in the key block won’t show as much contrast since it will be surrounded by dark greens, reds, yellows. The background key block will be a shift from warm to cool color blocks, so I am hoping that things will work together. One thing that I have learned is that you can’t proof too much- well, for me right now. Today’s term: “nishiki-e” meaning multi-color prints.
To start the process of creating new prints, I make my own cherry plywood. The process starts with gluing up two 3/8″ thin cut cherry around a birch core with waterproof glue. I sand with 300>600-grit sandpaper, trim the sides, and buff to a very smooth and shiny surface. Only 10 more blocks to prep before things really get started…
I taught in China almost 3 years ago and had the pleasure
of visiting the Kong (Confucius) family compound in Qufu that originally dates from 500BC (I’m not sure how old this structure is- nowhere near that, I’m sure).
I’ve always been a sucker for doorways and framing, so I thought I’d try my hand at a shin hanga-style small print. The image on the left is a photo after waiting for the tourists to pass- I was attracted to the worn smooth paving stones and rough weathered wood. The image on the right is an ink drawing on vellum. Not sure what to call this print yet, but I’m sure it will reveal itself to me. In terms of printing, I hope to utilize some goma-zuri (pigment without paste) to allow for a mottled look in the stones. I’m also thinking about splitting this keyblock into two: one dark foreground, one light background. I don’t know- like a good novel, I plan to keep “reading” to find out how this ends…
Enter a caption Enter a captionI know the title sounds bad and I should have more respect for my heroes . However, this is an animation assembled from a hand-printed progression in Hiroshi Yoshida’s “Japanese Wood-block Printing” from 1939. I’m fortunate to have a copy of this along with his son’s two manuals. Hiroshi Yoshida was a pioneer of the shin-hanga movement and I find his examples very instructive as far as layering transparent colors. The man especially loved grays and browns which is a bit surprising for me. Each of these four progressive plates have an average of 3-4 colors per page for a total of 15 impressions:
Black outline; outline block (I).
Blue sky; sky block (VI).
Brown sail and boat; sail block (II)
Yellow on water; water block (VII).
Indigo reflection on yellow; reflection block (IV).
Subdued purple gradation for the sky from bottom upward. The sky block (VI) repeated.
Carmine to heighten the light; the red block (VIII).
Indigo gradation from top downward on the reflection. The reflection block repeated.
Indigo gradation on water from either side; the water block (VII) repeated to kill the red where unnecessary.
Brown gradation on sails from top downward; the sail block (II) repeated.
Brown over the boat; the boat block (III).
Indigo for water to heighten the light in the upper part, and also perforated in the lower part; the indigo block (IX).
Plate IV (Finished)
Indigo gradation from the top of the sky. The sky block (VI) repeated.
Grey-block (V) to darken the masts and give a shade to the boats.
Indigo gradation from the bottom upward on the water. The water block (VII) repeated for this purpose. A baren of sixteen-strand cord was used to produce the horizontal marks on the water.
At the end of the progression, he also includes a night version (left).
Don’t take this the wrong way- I think this guy’s junk looks fanfrickentastiqué!