This post should wrap it up for the explanation of each layer in this print.

     Here I have decided that the tree trunks were too light, in the last post you can see what I'm talking about if you look closely at that area. Because the block had been carved away in prior reductions I would need to flip the block over and use the un-carved side. To register the new block with the existing block I taped tracing paper on top of a proof and traced the branches and trunks, then put the block in my registration jig, attached the proof with the tracing paper to my Turnes Burton registration tabs, laid it face down to align the tracing paper to the block and transferred the image to the new block. Next step was to run a proof to clean up any funky areas.

     These trunks are back lit so I wanted to keep the darker area mainly centered leaving it lighter around the edges, this allowed some flexibility as well. Results were good once I had sorted out all the gaps where leaves are in front of branches, and made sure they connected to make sense. Once this was to my satisfaction I did the run with raw umber and oil as I was completely out of extender. Glad I did it though, sometimes the smallest changes make the biggest difference, when in doubt be willing to do the work to make it right. Often when I am wondering about things like this I will use a proof and paint on it with ink the changes that I am considering, this way I can see if it helps or hurts, and fine tune the color.

Another layer of glow below, the last one.

     If you look closely at the top image and compare it with this bottom image you can see that I added some transparent shadows over some areas that were too light. This gave it much more depth and richness of color. Using the same process as described above I carved another block here as well. Fortunately I had saved enough of my go to shadow mix of magenta, cyan, and raw umber with about 90% extender, this creates a rich array of color by combining with the underlaying colors to create new ones. 

     Hope you have enjoyed and maybe learned something from reading about this print. There is so much misunderstanding about printmaking that I would hope my post helps explain what is involved in this art form. In other words, this is not inkjet or giclee, these are hand made one at a time one layer at a time.

     Here's a close up of the little highlight glow that I added after each layer that effected this area by the trees.

     Here I've added the darker shadow layer, a mix of extender and a dab of burnt sienna. A proof got killed for this layer with the first color mix of my go to shadow color (extender, cyan blue, magenta, and a touch of raw umber), when this mix hit the oranges it turned way too dark blackish, this is where I used up all the rest of my tube of extender.

     Now more fun big changes, get to add the light green leaves, the light blue where the sky reflects on the cliff, and the light grey highlights on the boulder in the foreground.

     This is the deeper shades of green in the trees and the blue on the cliff, and another layer of highlight by the trees. I used a rainbow roll for the green to add depth. 

     That does it for today, if anyone was wondering I'm posting this on Monday rather than Friday, my husband and I took a short trip to the Alabama Hills to do some exploring and got some beautiful pictures of the light show that appears every sunrise, maybe will be my next project. Next week should finish up this story, I actually had to carve some new blocks to make changes that I decided were necessary. Best to you.

-Cathryn

     In the photo above is a closer view of this small quick layer. In the original photograph the background light is so bright that the distant cliff looks washed out by light. I liked the little carved rays in the cliffside so I decided to try something I had not done yet, I did a little mini rainbow roll of sun glow in just those two spots. This is a shear mix of extender, white, and a touch of yellow ochre. I liked it, so decided to go for it knowing that I would have to re-apply each time that area got printed over.

     This is one of those layers that throws you back, so bright! Yikes! But that is a big factor in reduction printmaking, brace yourself and stay true to the plan and your knowledge of how color works, it can make or break a composition. Here I used process red with process yellow, heavier on the yellow toward the cliff edge and pure red with extender in the more shaded areas.

     Wanted less intense colors in the interior of the canyon, so I toned it down with a layer of burnt sienna mixed with yellow ochre, and of course extender as I still want some of the underlying color to glow through. You can also see where I applied another layer of sun glow in those two spots.

     Here's another yikes moment, persons of a certain age might remember neon posters of the 60's and early 70's, yep, definitely has that neon poster vibe, but I knew, stick to the plan it will look right in the end.

     Looks like I forgot to take a picture of the darker purple layer, you can see it in the middle right, that may effect my layer count, oh well no biggie. This layer is burnt sienna and extender, it really shifts the color when it mixes with the underlying purple and begins to deepen the cool canyon shade.

     That does it for this week, hope you found this interesting.

1. Here is the first layer below, I used my 12” soft rubber roller with 99.9% extender and just a touch of process blue at the top, and yellow ochre at the horizon in a rainbow roll, then extended the section with the same color mix and a smaller roller, because my 12” roller wasn’t quite wide enough to reach down where I needed it to be, just needed a layer of color base.  At this point I have not yet carved any of the block as there are no pure white areas to preserve in this composition.

 
 2. Above is layer #2, it represents the distant cliff on the other side of the main canyon. I used an opaque cream white color to make a more solid feeling feature, there will not be much detail here, just indication of the same rock type at a distance.

3. Here are layers #3 and #4.  #3 is a saturated yellow /white for the brilliant highlights on the cliff, and a layer of white to cover over the blue in the sky, I have carved out all the sky and all but some small areas for a sandstone color for the distant cliff. #4 is a correction, I decided to make the yellow softer, lighter and peachier, it is a mix of process yellow, process red, and mostly opaque white. If you can zoom in on the picture on the right you can see the subtle terracotta color in the distant cliff. I had debated whether or not to indicate that distant cliff, unsure if it would read correctly, ultimately decided to go for it as the added rolling of the sky might have shown up and could have looked confusing, as it is I think it worked, and that all got carved away so, no going back, although I could have carved another block to print on a wash over that area to make it more obvious.

4. This is the 5th layer, now the image is beginning to take shape, I’m glad that I lightened that yellow, and included the distant cliff. Very pleased with the colors so far. This is just a light orange, and a more ochre color in the lower portion of the print, there is also some sunburst rays along the sides of the cliff next to the trees that I added just because I felt like it. Some of the underlying blue still shows but I am not concerned because that whole side will be mainly in shadow.

     Hope this was interesting and maybe answered some questions you may have had, please comment, feedback is very much welcomed. Next Friday’s post will show show big changes, some anyone who has done reduction prints can relate to where one can get shocked into a questioning of confidence.

     Welcome to my blog, I consider this a shared journal that can function as a way to interact with anyone who has questions or advice, and a resource that I can use to look back on how I got things done and learn from mistakes.

     This first post will document the beginning, the why, where and how. With each added post I will show the photograph of that layer and explain the color choices, and issues faced with that layer, how I decide on planning what to do next, whether or not to change the plan if the benefit is worth the risk.

     In the spring of 2019 we went on a month long camping exploration of Utah with my in-laws, it was early spring so the weather included a wide variety of conditions with lots of snow, thunderstorms, fierce wind and sparkling sunshine. Picture Bryce Canyon with it's red cliffs dusted with white, and purple/ grey clouds across the sky, casting dramatic shadows between the glowing sunlight on the land.

     There are so many fabulous pictures in my stash I could be kept busy and content for years, it is difficult to choose, so there is a system to help decide. Some images just grab me, when I scroll through the files they catch my eye and put me right there again, it might be the colors, the scale, the patterns, the emotions, and any combination of these. When I'm working on a piece I keep my mind on the aspect that made me choose this composition, why this one, don't loose the focus, distill it down to the most important thing about it,  reinforce that with each layer.

     The reasons I was so drawn to this image specifically are many, here is a rundown. When I really think about it all of the reasons that this image is so compelling to me all contribute to the most important tribute, the feeling, they all built up the feeling. The gradient of light from brilliant warm outside to the cool violets and greens in the canyon, I felt sheltered there. The scale of the immense rock face up to the top, again, shelter and strength. Those colors, wow! Again warm to cool, the cool could save your life and that is a very emotional reaction.

     Above from left to right is the original photograph, the painting done specifically as a pattern for this print, and the completed print. It is interesting to look at all three side by side, there seems to be a bit of a metamorphosis from the process. As self critique I can see that the shadows are not as dark as the work progresses, the gap in the canyon is wider, the furthest tree is taller, and the colors are more saturated. I had better not look at this too long or I will be tempted to carve another block and add another layer.

     We have established the why this image, now the how, what is the plan. When I first chose this picture I thought it would be easy, a series of rainbow rolls each with the gradient from light to dark, vivid to muted, and warm to cool, of course it wasn't that simple. I plan to post an image and explanation each Friday till I've gone through all the layers. Looking forward to hearing from anyone who follows along and hope that you enjoy this as I am.

          Recently I posted my painting process, and progress on Instagram while I worked on a      piece. It was fun and seemed to work out pretty well, so I decided to see how it would work  in a  blog. This will be my first blog posting, and I'm not the most computer savvy person, so  here  goes nothing, well hopefully not nothing.

          Image number one is the photo that I chose for my painting. I took it while on a trip to  Patrick's Point with my mother before she passed away, so it is very special to me.

         The grey sky is typical of the northern California coast, but it actually seems to enhance  the  gorgeous teal greens in the water and give a velvety softness to the atmosphere.  My mother was an artist also, she loved to paint in an oval shape and collected antique frames. When she passed I kept her unused frames, so I am using a 12" x 16" oval board with linen mounted on it to fit into one of her antique frames.

     You can see in my sketch above that I have lowered the horizon line to go behind the large rocks that are out in the water, I did this to avoid the appearance of dividing off the top of the composition, however I ended up moving it back up because It altered the perspective too much. Diffusing the horizon edge worked better.

     Above I have blocked in the underpainting and main shapes, got my colors mapped out on the board.                                                                       The image below left now has the wet sand added in as well as some lighter colors in the water. As you look at the images from left to right below you can see how the painting progresses as I develop the sea foam, reflections, deeper color in the water where the waves are, and highlights.                                                                                     

Below is the completed painting, notice the color tone looks a bit bluer than the other images, that is because this picture was taken in natural daylight while the others were taken with indoor lighting.

     I did find it a bit tricky to control what goes where for this blog, couldn't seem to move the pictures, and text around where I wanted them to go. Hope you have enjoyed my posting despite those issues. If this is well received I may feel encouraged to do it again, and hopefully without the flubs.

Thank you.

- Cathryn