Ready For Proofing

The momentum is flowing here in the studio and I've made it all the way to this point with my plate in a mater of a couple days.  For something of this size and detail, I think it's pretty good pace for me!




From this point I'm ready to do a first proof of the plate and then make the necessasary adjustments to values from there.  At this stage I think things are looking pretty good and should only need bumping of tones to get them where I want for the finished print.

Tomorrow I'll start work on another plate which is about 6 times larger than this one~

I'm Back!

I'm Back!

Thanks to a serious onslaught of freelance work, the move into a new home, and a baby.... it's been a good long minute since getting the opportunity to make anything! ;  let alone post about it :)

Anyways,  I'm back in attack for the next 3 months as I prepare for an upcoming exhibition late September.

As of 2 days ago, I've begun the process of preparing the first of a body of print-work I'm expecting to complete for the show.

While the show may or may not be exclusively mezzotint work, I'm staying true to working in this technique to start, and we'll see if thing diverge from there.  This small 4x6 plate is the beginning of what i'm hoping will be a series of  6-10  small prints in the same vein.

I'll be starting in on 4 larger 30cm x40cm plates next week that will follow the same tangent as this print completed earlier this year.



Enjoy!

Thoughts About Line

Tin 2012 24x36 Oil on Canvas

I am proud to announce the completion of Tin. 6 months at the canvas and many lessons learned!

I completed Tin in April, to be ready for a show at the EAGM Estevan Art Gallery & Museum called Dwelling. The show runs May 10 - June 30th. Details can be found on the EAGM website: http://www.estevanartgallery.com/exhibits.html

In the days leading up to the deadline, I had come down with the flu. I toiled away at the tiles in the background with a fever and a determination to keep the quality high. At the same time, I had just returned from a week in Paris.  It was at the Centre Pompidou that I cast my eyes on New York City I, Piet Mondrian:

At first glance I was enamoured by how straight and precise the lines where. I knew that I was about to do my tile background, so I went up close to see if I could learn any techniques from the work:

The lines are straight indeed, but they are not perfectly rendered. I understand now that you can effectively make a statement with out a tediously precise mark. I would like my work to loosen up and take on a painterly manner, and this is one example for me to see how this can be done.

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