Last year I tried doing Inktober, that online art challenge where you create an ink drawing every day in the month of October. I got about three days into it before something else claimed my time and I didn’t want to spend the time catching up. This year is different, in part, because I have a clearer focus than last time. Things (like paid work and deadlines) still claim my time and with less than half the month left to go, I’m still behind schedule. But this new focus keeps bringing me back.
What is so different from last year? First off, I now follow Jake Parker, the originator of Inktober, on Instagram and I got the official prompt list well in advance. If I had been a diligent monkey, I would have started conceptualizing back in September, but I didn’t. Secondly, I decided to go into the challenge with a goal in mind — improve my skills in drawing faces and hands.
My scattershot approach to subject matter is obvious in the first five days. But the portrait of Eric Idle as Sir Robin (day 5 – chicken) set me off in a new direction. Still focusing on faces, but not so much on hands, I realized that movies were a great source of reference material. I can work with the title, like Whale Rider (day 12 – whale), a scene, like from Tom Jones (day 6 – drooling), a character, like Bella Swan (upcoming day 15 – weak), an actor, like Andy Sirkis (day 9 – precious), etc.
Even though I have placed another restriction (movies) on top of my first (faces) which I added to the existing restrictions of the prompt list and working in ink, it is actually easier for me to come up with ideas. This is seeing restrictions as a container, like a mold, within which you create something. It’s not my concept and I don’t remember where I originally learned it, but I think it’s valuable. Some may balk at the word ‘restriction’ thinking it has negative connotations. If so, then think of setting strong parameters or guidelines instead. You should end up in the same place.
Above all, keep making art.
I was gone over the weekend and came home to an e-mail from John Neal Bookseller, a calligraphers Mecca in New York, that the 16th of August is World Calligraphy Day. More than one project involving calligraphy is perking in the back of my skull, so I thought I would do a little bit of practice and show some older pieces as well.
This is the Song of Amergin, an ancient Irish poem with many wildly varying translations. In the two pictures above, I’ve used my interpretation of an Anglo-Saxon hand using the Anlgo-Saxon runes thorn and wunjo. Several of the other letter-forms are also archaic, like the long ‘s’, d, f, g, k, t, and the ‘u’ used for both ‘u’ and ‘v’.
I wrote the poem out again using more modern letter-forms, but I goofed in line six. You can see the word ‘the’ beginning with thorn. Some habits are hard to break.
I did these without guidelines as an exercise; an attempt to get my hand to remember how to write these shapes. The images below are some old pieces I did when I played in the SCA. I think my hand was steadier back then.
Well, they are printed, signed, numbered, and listed on my Etsy shop. These Norse Griffins were an experiment and time will tell how successful an experiment it was. My original thought was to have them for sale at the Oddmall show, but I completely ignored the logistics of how to sell unfinished art. Any promotional effort I made was too little, too late. And my hope of generating interest in my other linocut prints with my demo, never materialized.
This is not to say that the endeavor was a failure. I learned a lot, and it may yet prove to be profitable. I’m certainly not sorry I took the leap.
For the geeking out aspect, I’m including a series of images showing the progression of the reduction printing process. I always find it challenging in a good way. Multi-color printing without a safety net.
The first color. I carved away everything I wanted to stay white.
The second color. Here I carved away everything I wanted to show as red.
And this is what the second color looks like printed on top of the first. The color balance is a bit off in this picture, but the orange toned down to a pumpkin like color.
The third color, a blue-black mix attempting to match indigo. This outline is all that is left of the original block.
And lastly, the third color printed on top of the others.
This is the last entry before my printshop-in-a-show experiment. I’m nervous and excited. I think as long as I don’t leave something critical at home, it should be a lot of fun.
The final color carved, inked, and ready to go.
I printed the third color on my little test subject. It’s a mixed blue trying to get close to indigo. When I pulled the first clean proof I could not help but smile. There is something entrancing about seeing this image appear for the first time.
My little dudes lined up. The background isn’t quite as pink as it appears here.
Yes, I drew it and it’s nearly symmetrical, but you never really know what the final image will look like. That, at least for me, is one of the attractions of printmaking.
The first step, carving away what will be white.
I have much still to do today; print the first color on the griffin, get more supplies, print new signage, pack things up. But I can’t wait until that moment on Sunday when I pull the first finished griffin.
If you read my previous post you will know that I have temporarily veered away from my all-consuming zodiac project to prep for a show this coming weekend. I will be printing a linoleum block reduction print on site at Oddmall Tacoma. One of the features of a reduction print is the overlay of colors. Unlike multiple block prints where each color has its own block, reduction prints use only one block which is carved away as the printing process progresses. This means you only get one shot at it. So instead of risking a major public face-plant, I decided to test my color ideas.
I could have just cut some simple geometric shapes and run some color tests, but where’s the fun in that? The paper for the Griffin piece is 8×10 and after cutting down the parent sheets, I was left with thirty 4×6’s. I got a 2×3 block when I went to buy more ink and started drawing.
The image drawn directly onto the block in pencil and then refined in pen.
The image is derived from an ornament on a horse collar from an archeological find in Søllested, Denmark. The Griffin is also inspired by beasts on the horse collars in the same find.
The areas I want to stay white have been carved out. I lowered the angle of my desk light to hopefully show the carving.
My previous multi-color Norse block prints have had a Naples yellow-like background and I wanted to do something different that would still feel like it was part of the same series. On the mixing glass and on the block, the ink looks way too pink, but the print came out close enough to what I wanted.
The mixed ink and the ink on the block.
First impression drying inside the studio.
The second color is lighter than the first and I had no idea how well it would cover. The mix is yellow ochre-ish, but because it’s on top of the rose color it changes to a gold or Raw Sienna.
The yellow ink on the block and the print ready for the second impression.
After the second impression.
Next up will be the outline in a dark blue and carving the Griffin.
I’m going to take a slight break from the Zodiac project this week to prepare for a show I’m doing next weekend. Originally it was not on my schedule, but the date opened up and spaces were still available.
The show, Oddmall, has been in Everett,WA for a few years and I’ve done it since 2014, both in fall and summer. Now the organizer is expanding his reach down to Tacoma and I decided to give the new venue a try. I was able to obtain a second booth space at a discount and wondered “What could I do with the extra space?” My inventory comfortably fills a 6×8 booth so twice the space with the same stock would look sparse. But I’ve been listening to a podcast on art marketing, selling, working conventions, etc. and following their advice, I saw a possibility.
I could set up a print shop.
A print run from a couple years ago in my studio.
I don’t have a press any more, but all the printing I’ve been doing lately has been by hand, using a barren. The ink I use is water-soluble, so no stinky solvents. The promoter thought it was a great idea and we got the go-ahead from the venue. So here I go!
The original sketch, about 5×7.
Since my shop name is the Literate Griffin, I decided to do a Norse inspired griffin, done as a reduction print in a very limited run, and available only at the show.
I placed the original sketch face down on a linoleum block and used the side of a medium-soft pencil to to transfer the image.
I’ll post updates and shots from the event. Or better yet, come see me there!