During our internship at Zea Mays Printmaking in the spring/summer of 2014, Liz gave Mike Barrett and I the task of coming up with a new recipe for a non-toxic transparent base for etching inks. The base had to match or be better than the beloved Faust Transparent Base (t-base). The t-base had been discontinued much to the chagrin of many printers at the studio. Artists and print studios were hoarding cans of it.
In the end we came up with a base that is pretty close and I would say really nice to work with. It has a nice buttery feel like the Faust t-base but less body. From our research it seems it will also not oxidize as much with copper plates.
You can read about our research here.
Hanco Ink contacted Liz and asked to purchase the recipe. Hence the picture above of me holding a can of Hanco Transparent Base for etching inks. Do you need a can of t-base? You can find it here.
08.10.2014 super moon
08.14.2014 small etched plate
08.19.2014 it is a wonder or ouch
08.21.2014 lettuce, eggplant, kale, carrot, cucumber, and marigolds
08.22.2014 before we accidentally smashed the decoration
09.02.2014 Ursula the cranes are still with us, always
09.03.2014 new home
09.10.2014 new home
06.25.2014 My Mountain
06.29.2014 watercolor monoprint plates
06.29.2014 watercolor monoprint plate and print
07.09.2014 If only I could be so good.
07.10.2014 testing 1 – 12
Mayra asked me this morning what type of baby I was having.
I said a human baby because my brain didn’t understand the question and it was wondering if she was asking if I was going to have a puppy or some other type of baby.
06.11.2014 new friends
06.11.2014 getting ready to go away
06.16.2014 neighbors say welcome
06.20.2014 water bath
06.25.2014 to keep the cabbage whites away
Excited to see for the first time Ed Panar‘s publications at Flying Object.
05.25.2014 work it out
05.29.2014 at work
06/09/2014 goodbye feet
The weekend of May 31/June 1 I got to help out with Joyce Silverstone’s Carve and Roll workshop at Zea Mays Printmaking. The workshop combines relief printing and monotype. Along with assisting I got to participate. It is a really fun and easy way to start relief printing. The blocks are made of a plastic that is harder than linoleum but softer than wood. It carves like a dream and you can use needle tools to make marks. Then add to this Joyce’s sense of color and way of working with a combination of the carved blocks, mono print plates, and stencils and you can really compose some beautiful intricate pieces. Above are my prints, a little uptight but if I go for it again I can imagine getting looser and more dynamic.
We could get mythic: Jodorosky’s Dune
I am in the process of moving out of my studio at 1 Cottage Street. It has been a great run (5 years) and an incredible privilege. My last day in the space is June 30th. I am excited at the prospect of working at home and seeing what new perimeters this will cause in my work.
A shaking up of the old brain and body.
Do you need some materials? I might have some for you.
05.18.2014 So good. and So good.
05.20.2014 taking a break at work
05.23.2014 Hard Ground
Last weekend I got to help out with Nancy Diessner’s Pronto Plate Printmaking workshop at Zea Mays Printmaking. It was a two day workshop filled with great information and lots of action. There was a wide range of approaches taken by the participants in regards to their image making, so it was interesting to see different ways the plate could be handled.
Pronto plates are a quicker and easier version of lithography. You can’t pull as many prints, but it is a good tool for exploring this aesthetic and for making prints at home. I had taken first level lithography when I was at Umass using aluminum plates. When I could get the plate to do what I wanted I loved how the prints would come out. I am wondering if with a little more exploring and comprehension of the pronto plate process I could get similar results.
I know I am continually gushing about the artists who lead the workshops at Zea Mays Printmaking but really they are amazing and I am so happy and grateful to be there learning from them. Please go to Nancy’s web page.
05.06.2014 pond scum
05.11.2014 super soakers
05.10.2014 playing with viscosity monotype
Last Saturday I got to help out with the wonderful Joyce Silverstone’s workshop Accidents Will Happen/Viscosity Monotype. The prints above are my experiments with thinning and thickening the water based inks.
Last Friday morning Josh called me out side to see a sad and confusing scene. There was a squirrel in the front yard trying to drag a dead squirrel up the tree by the neck. They were high up in the tree when I decided to go back in the house. When I left to go to work a half hour later the squirrel was back on the ground with the dead squirrel trying to get a large piece of bark off of it. When it got the bark off it grabbed the body and made another attempt up into the tree. I don’t want to assume it was a mother squirrel and her kid, but it seemed to be so. The squirrel would get so high up in the tree, higher than the house with the other squirrel in its mouth and then it would lose it. I came home after work to find the lifeless body prostrate on one of the above ground roots of the tree. I buried it.
04.28.2014 from BZ
04.29.2014 in my neighbor’s driveway
04.29.2014 at work with JV
04.29.2014 Big E’s
04.30.2014 flannel scrap butt wipes, all part of new nesting impulses
05.01.2014 plate prepping
05.03.2014 A World of Glass I could have stayed in there all day
05.04.2014 Window at Feeding Tube Records
I got to see the Nick Cave show at the ICA in Boston just before it closed, whew. The sound suits, as always, were amazing. I can’t believe how tall some of them are growing.
I hadn’t seen the pieces from the “Rescue” series before. The dogs on their plush chairs in their ornate grottos nearly did me in. I have been in those spaces, I will grow old and be in those spaces. They scratch at a place in my brain that is so funny and dead sincere.
Josh and I went for our 20 week ultrasound to see how the baby is doing. The technician called it a little stinker because it would not let her get a good look at their face. Much like its parents.
Ultrasounds live and in person of babies are wild. I have seen so many pictures from ultrasounds I naively thought that it would be a cut and dry affair. The image kept morphing and body parts would appear and then recede into darkness, the spine would rise up at the top of the uterus and slide away. Sometimes the image was so cute and sometimes it was terrifying. Are you suppose to say terrifying? The baby would hide its face against the placenta or its hand would swish from its face to its feet. Its heart was the thing I could see the best.
04.07.2014 I scared this heron with my singing, but they still let me take their picture.
04.08.2014 At work making some cubes.
04.15.2014 Here is the second proof taken on a print where I am trying a sandpaper aquatint etched black then scraped and burnished to create the image (faux mezzotint).
I have finally uploaded images of some work I have done in the past year here and in the portfolio sections of this website. If you have time and are interested please check them out, thanks!