Archive | Printmaking

Upcoming shows

Raven Artist Proof with 23k gold, garnet, lapis lazuii, yellow ochre, and hematite

We’ve been busy cutting mats, bagging and boarding prints, and I’ve been gilding and hand-coloring some unique artist proof prints in preparation for late summer/fall shows. A few new woodcuts are in the works, though it may be some time before they are unveiled. Additionally, a new website is also in the works, which is why we’ve fallen behind on updates here. If you’d like a peek at what is new, I highly recommend a jaunt by my art page on Facebook. It is regularly updated with photos and tidbits.

Want to see work in person?

Seattle, Washington — anytime

The Xylographic Menagerie show at Gargoyles is over, but a large selection of standard edition prints remains, including the last available numbered Raven. Gargoyles is located at 4550 University Way N.E., Seattle, WA 98105.

Sacramento, California — August 9 – 11
I’ll be attempting to cram a lot of art into a very small space, including new hand-colored and gilded Artist Proof prints such as the Raven to the right. NOTOCON vending hours are 9am-6pm Friday and Saturday, 9am-3pm Sunday. Although the conference is a private event, the vending area will be located on the 2nd floor terrace in the atrium and is open to the public. The event is located at Embassy Suites Sacramento Riverfront Promenade, 100 Capitol Mall, Sacramento, California 95814

Providence, Rhode Island — August 22 – 25

A couple of unique works will be part of the Ars Necronomica show at the Providence Art Club opening August 12th. I’ll be attending the reception August 22nd, and will be a guest at NecronomiCon Providence. Look for my work in original woodcut print form and as silk screened t-shirt format at the Arkham Bazaar/Sigh Co. Graphics booth in the vendor’s hall.

Seattle, Washington — September 14 – 15

I’m proud to be hosting the Art Show at the 5th Annual Esoteric Book Conference. The Art Show and Book Room are open to the public during conference hours. Featured this year are the works of Hagen Von Tulien, Divine Mania, Joseph Uccello, Kate Merriwether Lynch, and Daniel A. Schulke. Original prints and reproductions will also be available from a few other artists, including myself.

Portland, Oregon — October 12-13 and 19-20

I’ll be once more taking part in the Portland Open Studios Tour. I’ll be opening up my studio along with fellow printmakers Beth Kerschen and Tara Murino-Brault both weekends from 10am-5pm. Join us then for live printmaking action!

Online — anytime

As always, if you can’t make it to an event, I do my best to make my work available online. Original prints may be ordered anytime via my Etsy storefront. Don’t see what you’re looking for? Inquiries may be sent to:

Chimera printer’s ornament from Arcanum Bestiarum

Cthulandia now available

Cthulandia 2nd edition

For those who missed out on the 2013 Portland H.P. Lovecraft Film Festival edition of Cthulandia, I’m offering a 2nd edition printed in black ink on cream cotton rag paper.

woodcut print
2nd Edition, limited to 50 prints
10 x 8″ paper size
8 x 6″ block size

Available now via my Etsy storefront.

Prints will also be available this Friday July 12th at the Bite Studio group show in Portland, OR.

The 2013 H.P. Lovecraft Film Festival

Finished Cthulandia woodcuts awaiting signing and numbering

Join me May 3rd through 5th at the H.P. Lovecraft Film Festival in Portland, Oregon!

We’ll have my usual display in the vendor’s room, packed with Lovecraft-inspired woodcuts as well as the brand new Arcanum Bestiarum series. The print selection will include beasts not yet available online including trial proofs, a few unique hand-colored pieces, framed works, and a couple otherwise sold out surprises one of my dealers forgot they had! A few standard copies of Arcanum Bestiarum will also be available, and I’ll be happy to oblige if you already have a copy you’d like signed.

Shub-Niggurath Capra Silvae cum Mille Prolibus
Since I’m also an artist guest this year, I’ll be part of Panel 6: Makers of Arcane Artifacts on Sunday from 12:30 to 1:30

Unearthly objects once glimpsed in nightmares can now be purchased in shops and held in your tentacled limb. Artisans, crafters and makers discuss their inspiration and process. (Rainey-Smith, Phinney, Soles, Koi)

Last, but definitely not least, join me Saturday from Noon to 2pm for the Pickman’s Apprentice Art Competition!

Armed with a number of sharp knives and a block of wood, I’ll be facing off against eldritch artists Mike Dubisch, Nick Gucker, and Lee Moyer.

Some of the best Lovecraftian artists working in the field today will have 90 minutes to create a masterpiece based on a theme suggested by the audience. Last year’s theme was “Shoggoth Circus” and Lee Moyer, Nick Gucker, and Mike Dubisch raced to complete images of both horror and hilarity. Attend this fascinating event to help choose this year’s theme and watch the process of creation right on the stage.

The audience will judge the winner of the competition, and all pieces of art created will be auctioned off to festival attendees, with 100% of the proceeds benefiting Animal Aid, Inc.

To be quite honest, I’m not 100% certain I can make a woodcut print from sketch to finish in 90 minutes, but I’m crazy enough to try! Come cheer us on as we duke it out for the title of Pickman’s Apprentice 2013.

What will I be carving this Saturday at the H.P. Lovecraft Film Festival? Join us there and give us your suggestions!

The Fox

Woodcut print
Edition of 22
13″ x 15″ paper size
6.5″ x 9″ block size

Available now via my Etsy storefont.

All Arcanum Bestiarum series prints have been hand-carved in wood and printed on an etching press with archival oil based-black ink on hand-torn Rives BFK paper. (Due to the nature of tearing paper, dimensions may vary slightly.)

I print with enough pressure to emboss the thick cotton rag paper and create as solid black of a print as the wood will permit. Each print is titled, signed, numbered, and accompanied by edition information.

Please note, some of the images within the Arcanum Bestiarum were altered to better interact within the book layout, those alterations do not exist on the actual woodcut prints and are not shown in my photos of the prints.

Proofing Cthulandia

The sacrifice is ready.

Initial carving of the woodblock done, it’s time for the first printing. I print at Bite Studio, which has several excellent presses and plenty of space for working in various printmaking methods.

First up is setting the press height. That big shiny roller in the middle of the photo is what presses the paper onto my inked woodblock, and finding the right pressure is crucial. Too high and the print will be light and “snowy” instead of the solid black I favor. Too low and (if I can run it through at all) the block can be crushed and completely destroyed. Take my word for it, I’ve done it. I learned from my mistake and now keep a “Sacrificial Block” on hand to set and test the pressure with. That’s it in the photo. Once I’ve run it through and adjusted pressure to my satisfaction, the press is ready.

Phone books — still useful in print studios

Next up is my inking arrangement. I always give the glass counter a wipe-down before putting any ink on it. In a group studio you never know what may be on a surface even if it looks clean — and even in your own studio it may be dusty and the less dust in your ink, the better. Debris such as dust, hair, or even dried chunks of ink, can show up in relief prints if you’re not diligent about checking for it as you work. I consider such marks to be of varying levels of acceptability in hand-pulled prints. A little “birthmark” can speak of the handmade nature of printmaking, a whole bevy of such marks speaks of inexperienced printmaking. (Which is fine if you’re a beginner! Don’t be too harsh with yourself if you’re new to printmaking — it takes time to learn the tricks and gain a feel for the artform.)

First pass of the brayer.

The ink is rolled out over the glass, forming what is known as a slab. The slab functions like an ink pad does for a stamp, except instead of pressing the wood onto it, you pick up ink with the brayer, then roll it over the wood. The brayer is basically a rubber roller with a handle, they come in many sizes and levels of firmness. My brayer was made with a very firm rubber so it won’t sink into the carved portions of my block. If I were to use a very soft brayer, or too much ink on my brayer, it could potentially fill my carving with ink which would result in lost detail. Ink has to be applied to the block in thin layers to prevent loss of detail, so the first pass of the brayer doesn’t look like much. Wood absorbs some of the ink, and often has low spots that may not be hit by a roll in one particular direction, but will be covered when you roll from another direction.

Brayers also tend to suffer from some unevenness; good inking doesn’t require perfect surfaces, good inking requires patience and attention. Here’s a close-up of the block after a few more passes of the brayer. It took several more passes to fill in that light patch. Inking does become a bit easier after a few printings, both because the block will quit soaking up quite so much ink, and because you’ve learned the quirks of the block and how to best manage them.

On the press bed

Once the block is sufficiently inked, I inspect it to see if there are any dull patches (not enough ink) or debris lumps. If I find dull patches, I figure out how to get the roller into that space and properly ink it. If I find any lumps, I carefully remove them with a bit of matboard (I don’t want to gouge the wood with a hard tool), the smooth out the scrape mark with a few more rolls of the brayer. Once the block passes inspection, it is moved on to the press bed. When I’m editioning I add my own guide to the bed to help me line up the block and paper position, in this case, I’m just proofing, so I’m eyeballing my paper drop.

The moment of truth

Because the goal here is to find out what the carving looks like, and not to produce a finished print, I’m also using some scraps of paper for the printing. I learned early on that if you try to pull a proof on newsprint, you won’t get a very informative result, so my “scraps” are still pieces of good printmaking paper, just random size leftovers from other projects. If I’m working large and don’t have big enough scraps, I’ll usually buy some cheaper printmaking paper of a similar weight. It won’t yield exact results, but it will be close enough to tell me whether the press is set right and the block inked as well as I expected.

Here it is, the first “Cthulandia” print! It’s still a bit light in places, but I expect that from a first printing. In my experience, you don’t start getting good even prints until a few impressions in. At this point, I now have enough information to proceed with finish carving. I can tell immediately I’d like to lighten his belly a bit more, and refine/lighten the head as well. I think the texturing of the legs was quite successful, and I’m also very happy with the evenness and tone of the background.

White, off white, buff

If this proof were just for me, I’d clean up at this point, but because the first edition is for the H.P. Lovecraft Film Festival Kickstarter, I want to be able to show a few paper variations. I want the first edition Kickstarter backers receive to be unique from any later edition I may print. My personal policy with editioning is that editions should always be different in a noticeable way such as paper color and size, or ink color, or maybe some carved changes to the block. As work progresses I’d be interested to hear from backers on whether they’re hoping for my usual “black ink on buff” combo, or are open to something a bit different. I’m personally feeling tempted to see if I could can up with a good dark green/black ink color.

Ghosts of Cthulhu

The last step of proofing is clean-up. The ink needs to be cleaned off of the counter, brayer, anywhere else it may have strayed, and of course, off the block. I use vegetable oil to clean up most of the ink from the tools and counter, then a little glass cleaner on the counter. Wood will absorb any liquid put on it, so I don’t use any solvents or cleaners on it. Any such substance could potentially damage the block or if not damage it outright, be retained in the block and interact with future inkings. So instead of a vigorous wipe down, the block is printed on sheets of newsprint. Each time paper is pressed to the block, it removes a little more ink until finally the impressions are very light. (Fun fact: impressions pulled without re-inking the block are known as ghosts. I can say in all honesty that I generate ghosts on a regular basis.) Woodblocks will always retain a little ink, and that’s okay because next time it is inked, it won’t absorb as much and will yield good prints faster.

Carving complete!

Nearly there

Carving the remainder of the torso and legs was quite rapid. Each little mark is about the same size as those on the head and belly, but they’re more widely spaced, with a few larger gaps to created a spotted effect. All that’s left to carve at this point is the final knee, and then the background.

The bottom of the piece will remain a solid black, and while I could revert to a solid white background as seen in the original Cthluhu woodcut, I’ve started using more textures in my backgrounds.

Time for some background

I’m partial to the roughness of “chipped” textures as such as the one seen here in the Bee from Arcanum Bestiarum, but I feel such a texture would adversely compete with the texturing within Cthulhu’s figure. The figure also contains many horizontally oriented textures, which I’d like to create contrast with, so long vertical lines are a natural choice. Here are the first few swipes, made with a shallow 1.5mm u gouge.

Probably the fastest carving portion of the entire piece.

The texture I’m creating here is relatively simple: repeated passes from a shallow 1.5mm u gouge. The trick is to not be too uniform in carving. It may sound counter-intuitive, but it is very easy to fall into a regular pattern while carving and I favor a bit of irregularity to keep things lively. I want the overall look of the background to be relatively even, but not every single mark. I avoid uniformity by varying line length, starting point, depth, and periodically angling them just slightly left or right.

Just a few more swipes of the knife

Althought just shy of complete in this photo, the initial carving is now complete! At this point I run a bit of 1200 grit sandpaper VERY GENTLY over the block to help remove little snags and splinters; then brush it gently to coax any dust or chips out of small carved areas. After that, it’s time for inking and the first printing!

Speaking of time, the H.P. Lovecraft Film Festival Kickstarter ends in just 3 days, and though it has met its initial funding goal, there’s still an excellent stretch goal to be met. Plus, the Kickstarter is the only way to order a first edition of this woodcut print — just my way of saying thank you for supporting the Festival which has been such a large part of my life for so many years.

“Cthulandia” Continued

Cthulhu is now armed

Apologies to the H.P. Lovecraft fans for the delay in Cthulhu process posting! I left off with the beginning of the claws on March 1st, and have progressed a great deal since then.

Carving can be a very rhythmic activity, and when I wish for parts of an image to maintain a certain level of consistency, I focus on completing those areas before moving into new sections. For this reason, after completing both claws, I moved up through the arms creating a bumpy irregular pattern with some sharpness.

A little off the top

With Cthulhu’s arms now fully realized, I moved on to his head and a lot of very tiny shallow cuts. By starting with my smallest tool, I’m lessening the chance of a “Whoops, there goes a chunk of face!” moment. For the initial carving I’m leaving a lot of surface wood — I can widen the marks to create a lighter surface later and fully expect I will. This sort of carving is repetitive, time consuming, and worthwhile because it yields a more interesting surface in the end than if I were to simply take a big tool and remove most of the wood.

Tiny tentacles don’t provide much space for carving

As I’m moving down the head I’m thinking about the shape I’d like to imply with the direction of my carving, and curving my cuts appropriately. Although much of my inspiration does come from renaissance woodcut style, particularly more primitive less-dimensional types, I find a mix of form and flatness satisfying. I’m also aiming for a mix of tonal value in this image and am not trying to avoid recognizable tool marks. Historically, wood engravers and carvers were not the creator of the image they cut. Their job was to reproduce as faithfully as possible, the drawing of the artist. As a modern printmaker, I am both artist and carver; as such, I don’t wish to deceive the audience into thinking the finished artwork is anything other than a woodcut.

Onwards to the belly of the beast

After finishing the tentacles I shifted down to the bottom of the belly to work upwards. I’m aiming for a lighter belly with sides and legs not as coarse as the arms, but still a bit spotty, so I’ve penciled in a rough belly line and spots. I used the same basic texture as the head and tentacles for the abdomen; however, I will be leaving a bit more space between marks on the sides.

More to come tomorrow! Cthulhu needs the rest of his torso fleshed out and some legs, then I’ll be wrapping up the initial carving with the background. If you’d like to sneak a peek ahead at the proofed block, the H.P. Lovecraft Film Festival has a preview for you here. Only 3 days remain to order a first edition of this print via their Kickstarter backer rewards!

Bee unveiled

Woodcut print
Edition of 33

Woodcut print
Edition of 33
13.75 x 10.5? paper size
7.125″ x 4.5? block size
Available now via my Etsy storefront.

Now that Arcanum Bestiarum has been released, I will be offering original woodcut prints of selected beasts. All Arcanum Bestiarum series prints have been hand-carved in wood and printed on an etching press with archival oil based-black ink on hand-torn Rives BFK paper. (Please note: due to the nature of tearing paper, dimensions may vary slightly.)

I print with enough pressure to emboss the thick cotton rag paper and create as solid black of a print as the wood will permit. Each print is titled, signed, numbered, and accompanied by edition information.

Please note, some of the images within the Arcanum Bestiarum were altered to better interact within the book layout, those alterations do not exist on the actual woodcut prints and are not shown in my photos of the prints.

Arcanum Bestiarum previews

Three Hands Press has crafted a video preview of Arcanum Bestiarum. Standard editions are expected to begin arriving Monday, be warned this video may sharpen your thirst for the book.

If you’d like a further preview, you can also view a selection of the original woodcut prints created for Arcanum Bestiarum as part of the “Myths, Marvels, and Magic” show opening tonight, Friday March 1st from 7-9pm, at Splendorporium. This group show runs through March 29th, see Splendorporium for gallery hours. Located at 3421 SE 21st Ave., Portland, OR 97202.

We’ve made a special arrangement to offer unframed prints as well as the framed pieces displayed at Splendorporium, so if you like what you see, but don’t care for the framing, speak with gallery staff.