Fluffy Detail Work

I’m having fun engraving milkweed and thistle fluff. I’m pushing the detail work more than ever, and will see if the time I am spending with the fine burin work will be worth the effort.

A 5”x7” end-grain maple block made by Jim Reynolds.

A detail photo using my macro lens. Though the areas look light and bright in the photos, much of this will appear as middle greys on the print.

I will use a few different multi-line tools to create lines that I will re-enter with a burin and change the path and thickness of the mark.

Swirls, whorls & fireworks in the negative space between the plants.

"Storied Stone" in Progress

I was happy to recently receive an email that my wood engraving “Storied Stone” was selected for inclusion in the Society of Wood Engravers (SWE) 86th Annual Exhibition, which will first be on display February 6-25, 2024, at the Bankside Gallery in London. Here are some in-progress photos of the making of the wood engraving.

An early step of my drawing the design directly on the block with a Pigma Micron marker.

Textures and details were culled by many photos I took of flint knapped and knapping rocks I took in Patagonia, Arizona at Jeanne’s sister Chris’ ranch.

my ipad made it easy to view many photos and to zoom in for details that I could utilize as I developed the drawing.

The rocks and petroglyph designs continue to develop.

I had plenty of petroglyph photos too, to use as reference.

Much of the engraving work was done during the first lockdown of Covid-19.

I continued to use reference photos, taking textures from various rocks and petroglyphs as I didn’t want to copy any specific photo. I often looked how a rock was illuminated in a photo and create a similar sculptural lighting in the engraving.

Here a few detail photos taken with my macro lense.

A view of the block with a raking light, ready to print.

Printing the block was another matter that I really struggled with, I could not print the image consistently. It took me two more years to finally edition it, utilizing what I learned from Graham Williams at the Florin press this spring 2023.

A-round Again

I recently completed an edition, it taking me a few days to come up with a title, which is “Nestle”.

I started working on the image by drawing directly on the block, using reference photos I had taken of nests found around our Lumen Lake home.

I ended up using this winter photo as a primary resource for the nest details.

I originally thought of using this feather image, a drypoint intaglio print for a Christmas card Jeanne and I made (circa 1980s).

I decided to use a feather as my “model” when I continue to develop the drawing on the boxwood lobed round.

Here the drawing about complete on the ink-toned block surface.

The feather was engraved first, and then the silhouetted nest edges second.

Next, weaving the nest with engraved lines.

I first printed an edition on my Albion press, utilizing makeready and printing on dampened paper.

After printing the edition, I continued printing, this time on dry paper, for a collaborative effort with wood engraving friends.

Albion Wonder

With a 11” x 16” platen (the metal part that moves down to “impress” the paper onto the inked block) I thought my Albion was too small to print my 5” x 8” “Storied Stone” wood engraving. I was happy to discover that I could print the block, and my edition is finally printed, using knowledge gained during my studying with Graham Williams at his Florin Press in England. And, my first use of makeready with the press (the additional layers of newsprint attached to a printed mirror image that is on the hinges tympan) was a delight. I now can apply more pressure on select areas of the block, adjusting by adding more layers of torn of pieces cut from newsprint proofs of the print. Once the block is inked, the hinged mat is lowered (protecting the print from ink miss-rolled). Then paper laid on the inked block, a flexible 1/16” layer of drafting table cover material is placed over the paper, the platen with makeready is lowered, and the pressure applied with the pull of the Albion’s handle. Missing are photos of the dampened paper set-up. The Albion is a joy to use, the perfect old-school tool for printing wood engravings.

Printing “Storied Stone” on my Albion press in my ArtStart studio, downtown Rhinelander.

Paper dampened overnight ready to print with. A new process that I am still learning. It is worth the extra effort.

Ready to ink.

Mat lowered before placing paper on inked block, so only the ink on the end-grain block will be printed.

The paper is carefully placed onto the block.

Flexible rubbery material is placed on-top of the paper before the tympan and its makeready is lowered down.

The makeready and its additional layers of newsprint glued onto it. One more layer over an area will add a slight extra pressure through the flexible material. Multiple layers, more pressure. These subtle additions make a huge difference.

The tympan is lowered and ready to be moved under the platen with the crank of the handle.

Pressure is applied (always a two handed pull, here one hand takes the photo).

The printed image, next damp paper will be pressed between blotters overnight, so the paper will dry and be flat.