Posts Tagged ‘printmaking’


Just when you thought it couldn’t get any better…

See if you can apply our last discussion (https://artamaze.wordpress.com/2016/08/19/the-drama-of-concave-and-convex/) to this painting.

This painting is different in three important ways: The square format pushes you into thinking abstractly. There’s no hint of a horizon line. The color contrasts are more subtle.

If the pink squares were pink dots, the effect would be frivolous, even more so than the idea of red dots  in the last painting. They have to be square!  Btw, the squares were made with linoleum, in a printmaking technique.

Many painters think pink is a problem.  That depends upon how it’s used and next to what.  And in what shape!  Pink squares drifting here across orange and turquoise tickle your retina into bliss.

See an earlier vindication of pink: https://artamaze.wordpress.com/?s=pink

Painting by Jane Donaldson, 2015

Once again, the flip creates a different dynamic. In this case, a sense of balance and stasis.


All contents copyright (C) 2010 Katherine Hilden. All rights reserved.





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I haven’t worked on the caricatures for my facefame blog since, oh my, January. In the winter and spring months I was up to here in printer’s ink, modifiers, press settings, the ol’ hot plate, solvents, exhaust fans and periodic printshop fatigue. Printmaking is not for the faint of heart or lungs. In five months I pulled (that’s how printmakers talk) 152 prints, and many more if you count the rejects. But more on that later, much later. This past week I finally summoned the courage to see if I could get back into the facefame-caricature mode. (facefame.wordpress.com)
I like reading Lorrie Moore. I pulled up the Google images for Lorrie Moore on my 24” computer screen, leaned the customary drawing board against my desk and drew her with the customary Stabilo aquarellable pencil. Twenty minutes, maybe all of thirty, and there was this intelligent, witty face on my paper. I was rather pleased. Well, I thought, the hiatus on facefame has just ended. I love drawing like this and there are plenty of writers and other artists (maybe even politicians in this presidential circus) that I’m eager to draw.
The next day, the drawing didn’t look good any more. It looked pleasing, you know, goody-goody. It said “look how well the artist controls the medium; a little ironic, but at the same time it has that classical feeling; being done in sepia, it alludes to the mighty Renaissance and who doesn’t love Leonardo and Michelangelo.” Time to put it aside, reconsider.
How can I bring this drawing into the 20th century, ok, the 21st? To do that, the drawing needs to be a bit edgy. Maybe adjusting the size will help. I took it to Kinko’s and shrunk it, from 14×11 to about 11×9. Now, loosely tracing that size to my aquarellable paper, I was less tempted by detail and literalness. I leaned into the pencil, deposited a lot of black stuff, smeared with a damp paper towel, LorrieMooreReyetextured the paper (in printmaking that’s called tone) and found my caricaturing zone. I knew I was in it when I drew her right iris with a flick of the pencil. That cranked up my courage and then adding the color patches was a sure thing, easy in the sense of “hey-it’s-my-drawing.”
This happens all the time, this wanting to please and then realizing the next hour, or the next day, that what you really need to do is summon your courage and do strong work.

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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