Wading into the River's Edge... Printmaking Pleasure

Yesterday morning… I just got lost in some monotype printing. Not much to say. I had gathered my materials the night before: some blank rice paper to print, some blank fabric to print, and some previously printed fabric to print over. I knew I wanted some grass-like images for a few new wetlands collages. And I let it roll…

Ink the plate. Press. Pull. Maybe press again. Re-Ink.

The original image. The ghost image. Press. Pull. Repeat.

Allow the images to appear.

This morning… Beginning the collages.

Yup. This is just how I hoped it would turn out.

I create new collaged works regularly. and post them to the Wednesday Collage Gallery on my website. This batch will be on m website later this week. You can see more HERE.

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

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It’s the Little Things – Some Studio Printing Tips

I had a great morning session of hand printmaking this morning. I realized as I looked at the completed images how the rhythm of printing and having a successful session depend on some  little things. These become like familiar friends. As I set up I get in printing mode

Acrylics on my worktable: I set out the colors I plan to use for the prints. I love these quart jars of acrylic paints with the nice wide, easy-access lids. Several years ago an artist  friend told me about Nova Color paints from California. I have been using them since, and they are also my primary source for matte medium and gel medium. (I buy these by the gallon.)  I limit my palette of colors kept on-hand and mix all my printing colors from these basics.

My favorite mixing palette: I tape down a sheet of white paper to the worktable and tape a sheet of waxed paper over that. I mix on the waxed paper. It’s economical and disposable. (And I can also monotype print from the colors on the palette at the end of a session!)

Printing plate: I print by hand from a soft gelatin plate. The plate I am using currently is in a commercial size cookie sheet about 18” x 22”. I mix my own, and use a recipe with glycerin so it does not have to be refrigerated. I have been using this one nearly a year. I also have a commercial gelatin plate I use when I want to have two going at once. Each has its own quirks, and you have to experiment with amount of liquid needed and amount of pressure.

Materials: Generally, I print on muslin, sheer polyester fabric (shown) and rice paper. The more delicate printing materials (the polyester and the rice paper) pick up more nuance and delicate image from the plate. The muslin will print with a more opaque appearance.

Hands on! I use my hands to press stencils and relief materials on the plate and then press my printing surface into the paint. Yes, my hands get pretty messy. But I’ve tried gloves and just don’t like working that way.

Here are a few of the images I created this morning. I’ll be incorporating these into a new art quilt.

While I incorporate monotype printed pieces into all of my large textile collages and art quilts, I’ve also been creating some smaller paper-mounted monotype collage pieces this year. A sample is below, and you can see them on my website HERE    

“Beyond the Thunder” 16 x 20 Framed Collage 2018

BLOG POSTS: If you would enjoy receiving blog posts by e-mail,
please subscribe here:  BLOGS-BY-EMAIL

NEWSLETTER: If you enjoy more detailed behind-the-scenes stories,
as well as FIRST LOOKS at new works and members-only discounts,
I hope you’ll become a Studio Insider.
You’ll hear from me by e-mail every two to three weeks. 
Subscribe here:   STUDIO-INSIDER-NEWSLETTER

Thanks for reading. I always enjoy questions and comments.

—Bobbi

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One thing leads to another...

A bee becomes a bird becomes a fish…

The work of MC Escher always provokes amazement and wonder. How did he do that? How did he accomplish his transformations with such incredible detail? What cerebral mix of mathematical and artistic interest works out over and over the intricacies of perception, perspective and transformation?

DeLand’s Museum of Art is currently hosting a wonderful collection of Escher’s prints. Some are lithographs. Most are woodcuts. All are exquisitely detailed and planned. After leaving the exhibition, I called the images to mind, remembering the patterns and images that most stuck with me.

His use of color is especially intriguing. Many of the works are black and white. And many appear to be black and white but actually have a very subtle hint of color imprinted from a second block or a second press hit. Such beautiful greys! I found myself in my studio looking at my color wheel, finding the greys and thinking about how enriching they are.

And the simple idea of transformation. There is nothing simple about the execution – they are breathtaking in their detail. But the concept is simple and compelling. One thing becomes another. Then it may change back into what it was. Or it may become a new thing.

 To artmakers, this is a studio reality. One process leads to another, which may open up a new door, or may lead on a path back to the original way of working. Things change. Ways of working change. How interesting, how interwoven it is.