Ok, remember now … last post … I did say that the black printer would be a bit harder than the yellow. I also hoped I’d get the edition to run about 50.
Well, harder: Roger That.
Edition of 50: well, looks like 25.
My story …
The black plate in the chase … ready …
Had the plate ready to go, racked up … added ink and began running them. First issue, I had a tough time getting ink viscosity correct … or, maybe it was the volume of ink on the platter … or maybe something else. At any rate, I was able to get a couple looking good, but then the plate details would block up.
Black impression on makeready sheetOne of the great “25” …
After a cleanup, a few more good ones … then blocking again. Simultaneously, I was really struggling with registration. The print would run high, then low, then, then left, and … you guessed it …. right. I finally ended up getting pretty consistent by simply eye-balling the alignment. Next time, I’ll need to work up a more direct and accurate manner of aligning plates.
So, by the time I was done, I had around 25 or so acceptable impressions … some … dare I say … “most” …. quite good.
So, my limited edition is even more limited than I thought. But they look good – very good. I’m very happy with my drawing and design … and I’m improving (somewhat) my printing skills.
I’ll add a shot of it matted, title/numbered, and framed below …
Ok, here I am, ink under my fingernails! Work on my letterpress project, “Choices” has begun!
As mentioned last post, I had mounted my yellow-printing plate – the sign background – on my block and racked into the chase. Today, I again came face-to-face with my old press. It took a while to get the press rolling: the rollers were stiff and cranky, I needed to check the packing – remove old packing, etc.. But, elbow grease, WD40, and blessings from On-High (a consistently successful team for problem solving) got it clacking with that loud, telltale “clank… thud…clank” that only a letterpress makes. Gotta love it.
Yellow ink on platen, rollers, and now, the plate!
As plates go, this is a very easy one to print: it’s only detail is on the edges, so no hassles with details plugging-up … over- or under-inking isn’t much of a problem. The next plate I print, the black-printer, will be more difficult.
Some of the press sheets …
So, the press run went well, I mixed the right quantity of ink (in the past, I’ve had to re-mix … not easy to match …). But it went well. I ran about 60 sheets of Rives BFK – so, with some lost in setup and to mishaps, I’m hoping this limited edition run will be around 50.
Ok, hearkening back to my post “A change of pace … with crows “, Sept 27, 2023 … (I started this post on Oct. 12 … and, lo, here it is Dec. 13 … so, a bit of a flashback, then on to the current …)
Oct. 12: here’s my plate, produced by Boxcar Press. Actually, this ganged-together plate represents, at least, two potential series (ok… plural would be: series, serieses, series’, sssssss!?!?!? Remember, editors are your best friends). Next I cut them apart to prep plates for each series.
I think I may begin with the cross and crow path … or maybe, mix in a concurrent approach … have to think that thru …
Dec. 13: Voila, here we are today!
So, after a hiatus (remember, life occurs – especially for we Peripatetics), I’m back. I (miraculously) found my package of plates detailed above, and have set about to mount them on my base and into the old Kelsey chase.
I’ve mounted the yellow-printing plate, the sign background. Ready to move forward with it, working title “Choices”.
[This is one of three posts I’ll do today, each something of a short catch-up: I have a few pieces I never did do a post for … not sure why, busy, I guess].
Who doesn’t love watching a wind-listing sailboat, gliding thru the water at sunset. I like how this painting looks as though done as a sepia, but it was actually created with the memory of sunsets that glow orange/brown and monochromatic. Perhaps a Jimmy Buffet song in the memory-background as well.
[This is one of three posts I’ll do today, each something of a short catch-up: I have a few pieces I never did do a post for … not sure why, busy, I guess].
This is a two-color letterpress print. There are 3 survivors from the original printing – each varies a bit. I may run thru a second pressing one day – no plans though – there are so many other projects … so these 3 may be an exceptionally small run). For the fascinating and insightful artist’s backstory, and for image details on this profoundly beautiful piece, visit blog posts entitled “Sand dollar” dated Oct. 26, 2023.
[This is one of three posts I’ll do today, each something of a short catch-up: I have a few pieces I never did do a post for … not sure why, busy, I guess].
I love this painting. For me, it’s like a scene in a Jane Austin story. There’s a vintage feel to it – not only the subject, but also in the technique/media. There’s a story in this painting that the viewer may bring to mind, to heart.
The window mentioned in the title isn’t the most prominent feature of this church, but it stands-out in this story as important because it represents a first for me. And, while not “most prominent”, it is one of several key features … and simply a fun shape. I’ve admired this church and steeple several times before – I pass it once a month or so. It’s what I’d summarize as a pleasant looking, country church … and one I’d like to add to the Steeple Project.
As I’ve said elsewhere, these renderings are not meant as portraits of specific churches or steeples. They are not intended as visual promotions of specific denominations. Most, indeed are visually inspired by specific, existent churches … and by their architectural and spiritual purpose. For most paintings, I begin with a snapshot of a church/steeple that I pass-by: sometimes a good, composed photo with my Nikon DSLR … and sometimes (most often) with my wonky phone camera thru a car window.
The latter methodology is the case with this painting. And, a crummy photo at that. But, I’m used to that and can get most detail I need from it. However, the little octagonal window – I cannot see any detail. I don’t know if it’s stained glass or standard window … and if the first is the case, what colors are present, what shapes are there, what story does it tell? That, I’d like to know – even though I’m confident its size in my painting will not allow me to show much. But, though I freely exercise “artistic license” 🙂 I also would like to have any detail I show – however tiny and soft – be accurate and true.
To that end, and here is the “first” I spoke of above, I actually contacted the church to ask what the octo window depicts … colors/images/etc.. I’m currently waiting for info.
Meantime, here is the initial sketch:
And with that, I’ll post thus far … and add more later.
Blessings –
Later … well, as I mentioned, I tried to contact the church (via its website email), but haven’t heard back. They’re most likely short staffed and spinning to meet ends. No worries. I decided to paint the window with a cross – no way to loose with that choice – maybe a bit in accuracy, but on-target in context.
I’m about finished, but cannot do-so completely until I get back home (currently on the road) and get final photos.
Ok, back in the studio. I like the piece, it’s a straightforwared look at a straight-looking church … sound, solid, and uplifting. I’m particularly happy with the trees in this one. I didn’t work at overly, and I think that shows favorably. Here’s the final painting:
Some steeples are heroic in architectural gesture. The highest church building in the world (owing to its steeple, of course) is the Ulm Minster in Germany at 530’ (with the Sagrada Familia in Barcelona hot on it’s heels at 566’ – but is unfinished I read). In the U.S., it’s the Riverside Church in NYC at 392’.
Traveling on a major E/W highway, we often pass a welcoming, yet demure little chapel along the way. This roadside chapel offers the traveler a place to stop, reflect, pray, and/or rest. Not much room for anything else – but, with those offerings, who needs “else”.
From the look of the door size, this edifice, thrusting rocket-like from ground-level, soars a commanding 15, maybe 16,’ into the sky … thanks to a robust spire and cross. :). I assume the congregation of Ulm Minster fears not.
What a joy to see this little chapel: roadside, welcoming, clean, and optimistic. So, it joins the Steeple Project.
Below, the initial sketch:
Stay tuned …
Ok, completed, and I’m happy with it.
I finished it with a bit of a different look … most of the previous paintings have been very light in the text area – by design: I want the steeples to pull forward of the background. This one, I’ve painted more full-valued than some of the others.
A detail:
I’ve also done something differently on this one – I’ve inscribed the title on the mat.
sI like this, and intend to go back thru the completed paintings and inscribe them as well. Note: these titles are not the names of the churches that inspired the paintings … rather, they’re my titles of the paintings I’ve done. 🙂
Remember: peripatetic, right? At present I’m working on a new painting for the Steeple project [Wayside Chapel] – I truly enjoy them, so that’ll be an ongoing project.
At the same time, I’m doing art for a bit of a new direction. The art I’m working on – basically drawings – are to convert to line art for press plates (with help from the great folks at Boxcar Press) for my letterpress. After printing this “base” art, I’ll go back in and work some watercolor into it. I plan to run these as a numbered, limited edition series.
For fun and preview, here’s the starting sketches:”Cross and Crow” and “Choices” … both to be a series of pieces.
And ganged-up for plate making (the black rectangle is the yellow printer for the sign background, the top silhouette restates my homepage “spinning like a …” )
All … well, most … of the steeples painted in this series are based on churches I’ve passed-by in my meanderings. This one, however, is a bit different. The basic shape/etc of the church is from one I saw in the opening credits on a 1940’s movie I recently enjoyed. Artist license allowed me to make some alterations … but, mainly, it’s the same church – solid and sturdy looking – the back pitch very steeple-like in it’s severe angle and subsequent upward thrust. One aspect that really captivated me are the white cross-boards (architecturally, there is probably a great name for these). If they were very heavier beams and inside the structure, running from roof rafter to rafter, they would be a structural cross-tie used to fortify. These, being much lighter and attached to the facia boards, are more decorative than anything. However, they are a very nice touch – whatever their use. Both of them, on both pitches, run directly up and becomes the upright of the crosses … and also re-state the cross members of the two lower windows as well as the round window on the steeper pitch. Nice touches that re-state and establish consistent visual, even spiritual, interests overall.
Here’s my initial sketch:
… and a detail … (apologies for image quality – all I had at the time was my phone camera …)
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