With process shown through photography, my own work in sketches and final form, and video, this blog depicts my thought process, the problem solving involved in experimentation, and the joys and frustrations of vision fulfilled in unexpected ways. I will also go into brief histories of the techniques I'm using, illustrated by work from masters historical and contemporary. I plan to update every other Thursday, so click below to receive an email every time there's a new post!
Last fall, I was lucky to learn the art of western marbling from Nancy Morains at Colophon Book Arts Supply. Marbling is a notoriously finicky process that involves thickening water with carrageenan overnight, mixing pigments with water and oxgall, and prepping paper with alum. If any one of these things is off, your pigment will be washed out, won't stick to the paper, or won't float on the water.
I am now spending time experimenting with the stranger and more interesting things you can do with this process. The printmaker in me views it as creating mono prints, and I'm having a lot of fun seeing what is possible. The current process I'm working with is called the Spanish Wave, which involves rocking the paper as you pull it over the surface of the water. This result is organic light and depth injected into simple rock paintings.
In this aquatint project, I experimented with multiple layers of ink in varying levels of opacity on the same plate to create atmosphere. The images are based on sketches I created of Battery Kinzie at Fort Worden State Park in Port Townsend, Washington.
Fort Worden and two other forts were built in the late 19th century as part of a “Triangle of Fire” intended to defend the entrance to Puget Sound. In spite of the onset of two world wars, Puget Sound remained untouched and the guns were never fired on an enemy. Over the years, nature crept in and what once was clean and streamlined is now covered in graffiti, blocks of paint and pools of vegetation and rust.
The book is Japanese stab stitch, the pages folded in the traditional Asian style, but not bound in on both ends so the reader can pull the page out for a full landscape spread. This is a mock up of prints, many multiples of the same plates, pulled with differing opacities of ink and wiping methods.
This chapbook’s outer and interior cover are wintergreen transfers of laserjet prints of scanned textures laid out in InDesign and printed on an intaglio press. The end sheets are suminagashi, or Japanese marbling.
William Faulkner’s characters look inward, but the world they reside in represents larger societal battles. Abner, the fire wielding terrorist and cold father in the short story Barn Burning, is a chaotic neutral archetype as at home in the contemporary times as he is in the barely stable postbellum south.
This project is a fully illustrated edition of Faulkner’s short story Barn Burning. In an effort to represent the inward turmoil as well as outward specificity of time and place, I worked with laser printouts of photography contemporary to the American Civil War and Faulkner. I transferred these prints to Ingres laid line paper and worked back into them using wintergreen oil and other transfers, charcoal and pastel, metallic leaf, patina and blackening solution, intaglio and monoprint. The text was set in InDesign and transferred using wintergreen oil and intaglio press and transfer marker.
This was a quick handbound chapbook project that experimented with alternative printmaking methods and materials. The cover is gold leaf, charcoal mixed with alcohol, and patina solution. the interior was printed with laserjet ink and transfer makers.