Before getting involved with my plein air adventure I’d like to show my last etching. It was an experiment with aquatint and different timings in the acid with the lighter portions being exposed at shorter times and, of course, the darkest at longer periods. To show movement and gain some darker portions I etched lines into the aquatint portions. This etching is 4×6 in. and has been accepted into the juried 21st Annual Maritime Exhibition at Coos Art Museum in Coos Bay.
Let’s get back into this blogging. This time I plan to keep the entries to approximately once a week so I don’t get burned out with the technology.
Of late I am getting more involved with plein air. Tomorrow will be the finishing of my 3rd acrylic outdoor painting in as many weeks. I have joined with a Tuesday plein air group of about 10-15 local artists. Our outings vary with different South coast areas.
Before I get going with the outdoor stuff, I will present the latest printmaking projects I have been finishing. Two are basic, simple Linocuts of scenes from the Bandon area and one an etching on copper place with aquatint shading. These first two are of a linocut of a lighthouse across the bar from Bandon, Oregon and the popular Face Rock along Bandon’s beaches.
Our Printmaking Class held each Tuesday at Coos Art Museum is off on the Right, Fun foot! First taste of printmaking has been Silkscreen Monotype and the results were met with extreme pleasure and surprise. Here are 6 samples from students Dana, Nancy, and Sarita.
Our next process is Drypoint Intaglio with the Museum’s Etching Press. We will be using etching tools and plexiglas plates. Those results will be posted later.
Experimented with a monotype on a South Slough Reserve Brochure. I first lightly (see through) coated with thinned Gesso. Made a test of mediums on screen for best B&W – watercolor black, Derwent Ink Black 2200 pencil, and 6B Drawing Pencil were the choices.
We have many Chickadees that flock our bird feeder and I am always attracted to their small size and b&w design around the head. So, I thought “small,” “fine” and Wood Engraving popped up as an answer because of its advantages of dense end-grain of a very hardwood (Maple, in this case). After engraving and gouging, the small wood block was rolled with a black oil-based engraving
ink and printed on Arches 88 paper. I enjoyed the test print and decided to keep it instead of ‘deep sixing’. Then, I thought – let’s frame it and enter the 2nd Street Gallery’s Miniature Show in Bandon, OR. Soon afterwards I find that it was purchased right after being displayed and before judging – a wonderful, and warming surprise! After the judging, I find that it was a ribbon winner. A couple of days later, I gouged some more to get some more ‘white’ around the Chickadee’s cheeks and printed an Edition of ten (10).