I often use the composition from what I feel is one of my more successful paintings to convert into a relief print. This print is a conversion of the painting," Nor Cal Coast" which can be seen posted on my website. There was a lot of experimentation, learning, and difficulties involved in this one to achieve the effect that I was going for.
The challenge and goals here were to express the color transition of sand color beneath water on the shore where the color is like a sheer veil over the underlying earth that shifts to the blue green and greys as the water gets deeper, and further away from the viewer. The resulting print was quite successful in the way the seafoam and color shifts worked out.
The challenge here was that I was not satisfied with the way I had worked out the sky and the warmer earth colors on the shore. The original sky had a wavy pattern that I decided was distracting, so I carved a new plate and printed over it (a shadow of the original sky can still be seen if you look for it). So of course there was some sky color that got onto the raw umber of the tree limbs and island that had to be printed over again.
The same remedy was used for the warmer browns on the shore and the island, I felt that they were too warm and light. So after much testing with different blends a sheer glaze that didn't change the darkest shades achieved the goal here, so another coat over the umber was not necessary after this last layer.
Now that this print is finally ready to offer, it has nine layers of ink, and two of the original ten prints were sacrificed.
I often use the composition from what I feel is one of my more successful paintings to convert into a relief print. This print is a conversion of the painting," Nor Cal Coast" which can be seen posted on my website. There was a lot of experimentation, learning, and difficulties involved in this one to achieve the effect that I was going for.
The challenge and goals here were to express the color transition of sand color beneath water on the shore where the color is like a sheer veil over the underlying earth that shifts to the blue green and greys as the water gets deeper, and further away from the viewer. The resulting print was quite successful in the way the seafoam and color shifts worked out.
The challenge here was that I was not satisfied with the way I had worked out the sky and the warmer earth colors on the shore. The original sky had a wavy pattern that I decided was distracting, so I carved a new plate and printed over it (a shadow of the original sky can still be seen if you look for it). So of course there was some sky color that got onto the raw umber of the tree limbs and island that had to be printed over again.
The same remedy was used for the warmer browns on the shore and the island, I felt that they were too warm and light. So after much testing with different blends a sheer glaze that didn't change the darkest shades achieved the goal here, so another coat over the umber was not necessary after this last layer.
Now that this print is finally ready to offer, it has nine layers of ink, and two of the original ten prints were sacrificed.