Proofing with Liliana Lima de Lázaro and Ayax Paris at Delarrarte

Last Thursday, March 7th, was the my first day at Delarrarte to work on the press. We worked on proofing a couple of the images I had been hand-printing in the studio, Moonlight at Glade Park and Aspen/Lone Cone.  Here are some photos from that two hour session.

Lili inking the block

On the press

Going through the press

Various stages of proofs

Ayax and Lili with Aspen/Lone Cone using chine de colle for the blue color

An Update on Twelve Views of Lone Cone

Proofing different stages of a print.
Actually experimenting with the process, inking different parts of the block,
combining two different blocks, trying out colors.

Some studies in watercolor and gouache.

Other studies in colored pencil and ink.  

Proofs of four different blocks.

Some other proofs.

Bringing this project with me to Spain has presented various challenges mostly technical having to do with materials and supplies. First, I can't just order supplies from McClain's in Oregon and have them shipped to Europe (the best source for materials and tools for making Moku Hanga (Japanese woodblock prints).  Second, how to keep those tools sharp? I am not that experienced and did not bring the right things to sharpen tools. Have been looking and looking and trying many different ways, but no success yet. Doing the best with what I have. And paper, no Japanese printmaking paper available here.
This week I will be working in a print shop on a press.
Look for a new more comprehensive post about that experience later next week!

Two small prints I brought with me that I am using as a basis for a larger block print.

NEW PRINT OF LONE CONE FROM SKETCHBOOK DRAWING

WOODBLOCK PRINT CARVED AFTER FIRST PROOF

SECOND PROOF FROM RE-CARVED WOODBLOCK

THREE FIRST PROOFS FROM DARK TO LIGHT 

CARVING WOODBLOCK AFTER FIRST PROOFING

INKED BLOCK WITH FIRST PROOF ABOVE
YOU CAN SEE THE ADDITION OF LIINES FOLLOWING THE CONTOURS IN THE LANDSCAPE
IN THE FOREGROUND ON THE SECOND PROOF AT THE TOP.
ALSO CLEARED UP THE SKY.

JAPANESE-STYLE WOODCUT PRINTMAKING & THE WESTERN LANDSCAPE

These six photographs show some of the steps in carving the woodblock print at the top of the Lone Cone.
From bottom to top:    My drawing transferred onto the key block ready to carve.
                                    The inked key block ready to print the first black and white proof.
                                    The inked key block transferred onto blue and yellow blocks to carve.
                                    Carving the blue block.
                                    A wall of proofs.
                                    First proof of key block with two color blocks.

FIRST WOODBLOCK

I am leaving today for the class Japanese Woodblock Printmaking Techniques and the Western
Landscape at the Anderson Ranch. Here are my first attempts at making a woodblock print.
They are small, about 4" x 6", of the Lone Cone on three different types of paper. The top is Somerset, the middle Mulberry paper and the bottom Rives BFK tinted with watercolor. I started
with transparent watercolor, Winsor and Newton, but finished with the new paints I received in my supplies which are actually gouache, an opaque water medium. The blocks are Shina plywood.
Will update this blog after the class.

"...my "Mt. Fuji" - iconic, singular, a beacon."

 Photo Courtesy of Mike Perholtz

What makes something iconic. According to the OED "Of, or pertaining to, or resembling an icon:"
An icon is "A person or thing regarded as a representative symbol of a culture, movement, etc. ;
someone or something afforded great admiration or respect."
After living in the mountains for the last 24 years I know that people feel this way about a peak that  is a presence in their life on a daily basis or one that they have always wanted to climb. The shape of Lone Cone and it's singular presence could be representative of all volcanic mountains
that stand alone.
In the Lonely Planet Guide to the Canary Islands,  Josephine Quintero referred to El Teide on Tenerife as an "emblematic pyramid".
I suppose all these musings are about trying to get the essence of a particular aspect of the landscape.
Up until now my plein air paintings have been a visual record of what is happening on a particular day at the Lone Cone, and right now what is happening is fresh and new green on trees near and far.
Here are a couple of paintings from last week.

"Coning" on Tuesday, 4/24/12

Two Views of Lone Cone: the top view is from the Broken or Busted Arm Draw Road or in that vicinity. Well to be more precise on 642 Road off of 44Z, Lone Cone Road. It did come to mind that I would be painting in the woods by myself as the bears are waking up with their cubs.
I don't carry pepper spray, maybe I should.
Well I played a tape of opera singer Maria Callas, so they'd know I was there.
It was really enjoyable.
Then I headed to the far side of Miramonte Reservoir for an afternoon painting. The clouds were moving in and the wind picking up but I found a spot in the shelter of a few Junipers.