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New Print and 1/2 Year Goals

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Here’s another version of the deep backbend known as kapotasana, or pigeon pose.  I’ve used a broken speedball plate to create some of the details in the floor and wall, which was a satisfying way to use a broken plate.

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You can see the gravestone details here.  I’m still working on drawing the hand in this position.  I’m planning to do a lot more of these in the coming year, so I’ll keep working on those hands.  I have 2 big goals for the next six months:

1.  Get a new studio or update my existing studio (which depends on several other decisions falling into place, including whether or not we move).  This includes finding a gently used etching press.

2.  Start an artist’s group for artists who are working on exhibiting and/or selling their work.    A safe haven where we can support each other and brainstorm ideas, share skills and so forth.  So if I’m good at writing artist statements, maybe another artist is good at creating websites and we can share skills, presenting what we know to the group.  It will start with reading Jackie Battenfield’s book “The Artist’s Guide.”  I got this idea from Merill Comeau and her professional artist’s working group.  They recently presented at the Concord Art Association and you bet I was there taking notes!

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Cutting the Gelatin

Last week I made some headway with these prints:

 

This one (above) was overprinted with white to emphasize the contrast between the figure and the background.

 

 

I’m a little frustrated here with the stencil, but I still like how it came out.

 

 

Not, perhaps, a total success, but I love the edges on the gelatin prints.  The figure needs more… more something.  More visual interest.

But then I tried this technique from Nancy Marculewicz’s out of print book on gelatin printing, which involves cutting into the gelatin.  Here’s something you can’t do with a Gelli plate.  Well you could, but it’s cost prohibitive.  With this technique, it’s often the ghost or cognate print that comes out best.

 

This one is my favorite.  The letters printed upside down don’t read so letter-y.  The stars and moon pattern is from a cardboard plate from the Provincetown workshop.  I probably should have reworked the bottom before printing, but I love the detail in the figure.  That’s what I’ve been trying for all this time.  How did I do it?  I need to take more notes while I’m making these because I forget.  Let’s see.  Oh yes, I made a stencil and carefully saved all of the pieces.  Unfortunately it was on this horrible curling when wet translucent paper I bought this Summer, so I had to throw it out after one use.  But I was able to ink the plate and block the area outside the figure, than press the pattern onto the inked figure that was cut into the gelatin.  You see?  Maybe not.  I can really see the point of making videos of these processes.

 

In this one you can see the lines that are formed by the gap between the cut-out gelatin shapes.

 

Now this one, you see those black lines?  Trying to get those fine black lines with a gelatin print is not all that easy.  I’ve been reading about a method of offset printing with an acrylic plate, but haven’t had that much luck with my Provincetown plates and I don’t have any more acrylic plates.  This figure is the ghost (or second print) from the gelatin plate.  The hand and foot area is fuzzy because it’s tricky cutting fine detail in jello with a regular exacto blade.  I need something akin to a pumpkin carving blade.  Come to think about it, perhaps I can find them for cheap at Target or CVS!  I’d be willing to bet those cheap knife sets work a whole lot better with gelatin than they do with pumpkins.  I’m also thinking of buying some plates, either acrylic or they have these foam plates.  Or perhaps I’ll try my hand at cutting linoleum plates.

The possibilities are truly endless.  It’s funny.  My daughter said: no offense Mom, but all you do is yoga poses?  Well, that’s okay daughter.  Stubborn-ness is my worst vice and my greatest asset.

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Paintings and Couches

I’ve been rather sick, with an unpleasant chest cold, and unable to practice with any regularity for over a week.  I really notice how yoga regulates my moods when I am unable to practice.  But I have been able to draw, and some very generous and beautiful yoginis have been sending me photographs.  Here is Christine from Gainesville, Florida, above, and below is another of her in kapotasana.

I’m planning a series of 3 panels, one each of the 2nd series postures Ustrasana, Laguvajrasana, and Kapotasana.  They’re for my living room.  They will probably not match my couch, which is a rather nondescript beige, rather old, gifted from a dear family member, and pounced upon and determinedly stained as only 3 young children can manage with delight.  It’s cushions are endless sources of forts and pillow fights.

This is why we can’t have nice things.

Clicking either image will take you to my art blog.

 

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Christine in Kapotasana

I drew this one at the gymnsatics studio yesterday.  Developing a habit of daily drawing forces me to get creative about when and where I draw.  I’ll draw anywhere now and I’m no longer so shy of who sees me.  I love the fingers, not so enamored of the lower legs which look like I paid no attention to them, poor Christine.  Thinking about pattern and this was the simplest one I could think of.  I like how the pattern vibrates with energy.