Archive | H.P. Lovecraft

Transferring the sketch

Sandpaper, red carbon paper, pencil, wood, and Cthulhu

Here are my tools of choice for the design transfer stage. The shina plywood blocks are pretty much ready to use, but they tend to have a little fuzz on the surface so I use a bit of fine grit sandpaper to gently remove it. The red sheet at the top is double-sided red carbon paper. I use it in lieu of standard graphite paper because it gives a good clean transfer and is highly resistant to smearing and fading. I personally like not needing to shellac the block in order to retain my drawing.

Last but not least, a 2H pencil. In my experience if you use a soft pencil for transfer you end up pressing into the block harder and denting the wood; those dents may end up being visible in your final print. Your mileage may vary, but this pencil has served me well in this capacity for a few years now.

The flag of Cthulandia

After sanding the block I position the design on it, and tape it into place with removable blue tape. This stage is sometimes tricky because woodblocks aren’t always 100% true to size and proportion due to the kerf of the sawblade. Edges are also prone to denting and splintering which may shave a little off the side. I try to keep enough blocks on hand so I can cherry pick the right block for the project, and in this case I had several 8×6″ blocks to chose from. I picked a block with clean edges which was slightly larger than the sketch. Smaller than the sketch could have spelled trouble on this piece since Cthulhu is positioned very close to the border. The border can only be so thin without risking it chipping off, so flexibility in altering the edge on this image is low.

Peekaboo Cthulhu sees you!

Once the design is in place and the red carbon paper is between the paper and the block, it’s time to start tracing! I usually start at a corner and take a peek after a few lines to make sure I’m using the right amount of pressure. This is particularly important if I’m using an older piece of carbon paper since it does start fading after multiple uses. (It doesn’t fade fast though, I only used up 2 pieces of it while working on the 50+ woodcuts for Arcanum Bestiarum.)

Double check before fully removing the paper

Once I’m done tracing, I remove enough tape to be able to flip the paper up and check my work. I almost inevitably miss something, and it’s easiest to fix while the design is still mostly aligned with the block. You might notice I’ve not traced the border, this is a deliberate omission; I prefer to use a ruler and pencil so I can account for block size deviation. I’ll add those lines on before the next step: carving!

Please note, this woodcut print is being created in support of the Portland, Oregon H.P. Lovecraft Film Festival — the first edition will only be available as part of their Kickstarter.

Mirroring Cthulhu

Just a brief progress update since I spent a good chunk of the day delivering Arcanum Bestiarum prints to Splendorporium for the Myths, Marvels, & Magic show. If you’re in the Portland, Oregon area,come see the show! Opening reception will be Friday, March 1st from 7-9pm.

Soon.

This is the part of the woodcut process where modern technology comes in handy. In order to have the final print edition match the sketch, I have to carve the block backwards. I could trace the design on tracing paper, flip it over, and transfer the tracing to the block. Or, I could print out a mirror image using either a photocopier, or in this case, my scanner/printer. I may be using the oldest form of printmaking to make art, and referencing 15th-18th century artistic conventions, but I’m not a complete luddite.

Here you see the printout I’ll be using to transfer the design alongside the woodblock I’ll be using, and the original pencil sketch for good measure. Tomorrow, image transfer!

The HPLFF Kickstarter is coming along nicely, keep an eye on it for updates on the rewards and contributors.

“Cthulandia” sketch 2

Cthulhu has been forced within the confines of 8 x 6″

Here is the revised sketch for the H.P. Lovecraft Film Festival special edition with some inking. Though I could have potentially re-sized the first sketch to fit it within the woodblock, the proportions simply weren’t right for the space. This is the re-draw, partially inked to give a better sense of line thickness and texture.

At this point, I consider this sketch done although as you can see there are many elements still unresolved. I typically leave most detail work to the carving portion of the process. The next step will be transferring this sketch to the wood.