There always seems to be an internal debate as to how I best develop a rough sketch into a finished print. I will settle on a procedure as the method of choice, then return from an outing with new sketches and jump into some odd combination of procedures that I seemed to think, while out in the elements, would be an invigorating approach to translating the sketch into print. This fickle process of deciding on a printing method does allow for some very creative results and some results that are contributed to Denver Recycling. A consistent process is a nice refuge to fall back on but I do love the challenge the varying processes add to printmaking. Just as I challenge the accepted norms of a process, in return, I challenge my self-expression.

Hopefully, this page will record some of my floundering about with printmaking procedures. Hopefully, this page will also give an insight to the processes used and the thoughts behind my methods. Confusion does seem to be a common state, though I like to think of it as a moment to explore.

Here are two different approaches to developing sketches into prints. The sketches are from a recent excursion to New York. The Flat Iron Building sketch has such a loose feel which I wanted to keep in the finished print. I chose the Japanese Hanga method of printing as I thought it would better convey the loose quality of the sketch. When complete, the print will consist of 8 color runs using three blocks.

For the Washington Square image, I wanted a process that I could play with the color layering. This led me to the transparent base inks I make, which allow me to build the values and colors  with transparent glazes. The ink is applied with rollers in a more traditional western printing technique but I then I diverge from tradition. Using two blocks, I establish the value and color structure of the image. I then come back in with a third block and apply thin transparent glazes to push and adjust the values and colors towards the mood and effect I want. Currently, the print has 5 color runs and will need about 5 or 6 more runs to finish the image.

Once the values have been established in the image, then the fun begins. Especially true for the Washington Square print where I start to manipulate the colors, values and temperatures of areas to push the drama within the image using the third block.

The video below shows the proofing process I use to develop the image on a new block.  The beauty of the reduction process is that developing the image is much the same as developing a painting.  Unlike a Multi-Block print where the color runs are predetermined before printing begins, in Reduction Printing I don’t know how many color runs I will make to complete the image. As I proof each color run, I am evaluating the value and color schemes and their effectiveness to the overall composition. I can add more color runs if needed or even add a new block which is what I am doing in the 2 minute video below.

Still working on the Washington Square print, I recarved the accent block so I can print a reddish color over the back ground buildings and some foreground accents in the people.

I have many people ask how I can keep track of what is going on. My guide is the sketch and the print shows what I have yet to  print. The sketch is my road map and helps me keep my bearings as I develop the image.

When printing in glazes, printed detailing is not lost when over-printed. The glaze changes the value, temperature or color depending on the transparency. So, just as if I were painting, I am continually adjusting areas in the image but with the print, I am working from my sketch.

In the meantime, I carved the final stage for the Flat Iron image, proofed it and printed it up using the Hanga method. Remember, the Hanga method uses a waterbased pigment in a rice paste as the ink. The ink is applied with a brush and pressure applied by  hand with a baren.  All that is left to do is number and sign the prints on the finished print below.  

The print will be available through the Salmagundi Club during the American Masters Exhibit on May 4, 2012.