more colored etchings...again.

copic marker and ink on rives bfk

4.5 x 4.5 in

prismacolor marker on rives bfk

etching

4.5" x 4.5" in

prismacolor marker and ink on rives bfk

etching

4.5" x 9" in

prismacolor marker and ink on rives bfk

etching

4.5" x 9" in

hmmm

untitled, 2011

hand colored etching on Rives BFK - copic marker, ink.

i have a million of these artist proofs on which i can color how ever i may please.

more colored etchings

MN A/P

I realize now that the scanned version doesn't say "A/P".

"Floating City at Stratos" A/P (yes, that's a Star Trek reference, haha)

Doesn't say that on this scanned version either.

I think the coloring needs to be simpler.

etching

Simple - light silver ink on Rives BFK

in progresssss

the beginnings of the (reductive) linoleum block before being registered with its digital counterpart yesterday.

i'm pretty gosh dang pumped up about it.

hand-coloring prints all the live long day

MN a/p on Rives BFK
etching
4.5" in x 9" in


untitled a/p on cream Rives BFK
etching
4.5" x 4.5"

some prints

MN
etching
4.5" x 9" in
2010
--the line on these etchings stands up off the page like thread.


Rebecca
reductive linocut
4" x 6.5" in
2010
--my favorite, everyone's favorite. I need to do more of them.


Untitled
etching
4.5" x 4.5" in
2010
--think I need to hand color some of the AP of these.


Near & Far a/p (sold)
drypoint
3" x 3" in
2010
--wiping on this AP isn't as great as the other (the framed one). the edition looks good though :)

self portrait

self portrait, originally uploaded by ugly mouth.

reductive linocut

R is for RATTAIL (hairstyle)

Dude, I like relief printmaking best of all - I've come to that conclusion today. I like making the plate and I don't at all mind the process of printing a relief block because it is quick and easy. Our assignment was to choose a letter, and illustrate an image which went with a word we chose for that letter.

I chose "R for RATTAIL (hairstyle)":

headache, bed following this

I have these pieces of acrylic which I did not break correctly. I didn't really want to cut them into squares, so I shattered them up intentionally. I like the way the acrylic broke to form these varied shape, it's more interesting. I'm wondering if it will have any affect on the image. To hell with squares and rectangles right now.

Tonight I worked on my test plate (etching), finished it and beveled it. Tomorrow I will print it and begin sketching for my 10x10 plate (etching, aquatint). I visited with Eric Howe and started to prepare a collage/drawing for another drypoint image.

The other night I tried my hand at doing monotypes with oil and mineral spirits. I only had one which turned out any good. Next time I know what I need to do though.

MYSTERY MOTH

le petit oiseau a faim

This semester I was accepted into the juried student show for this print (this artist proof - the color is watercolor). Thanks to Chester Burton - he gave me a frame, and helped me mat it as well. That was extremely nice of him, extremely nice. I wasn't going to enter because I had forgotten about it, but thanks to him I made it over to the gallery in time to enter, and as it turns out, I was one who was chosen. Realizing that my prints might actually be decent made me feel pretty good. I didn't win any awards though, but that's alright.

tired

Today I spent several hours in printmaking, but I don't feel like I accomplished much. I will spend tomorrow night doing the same as this evening. I don't like printing editions because I can't make a print look the same every time. I like artist's proofs though, because I get to print and then draw or paint or print again on top. Making multiple prints that all look the same so laaaaaame. I probably just hate it because I suck at it, hah.

Here is what I'm working on now:

"Pine" 3/4