Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts
15 January 2018
Now Available - Gyroscope Review Winter Issue
The first issue of 2018 of Gyroscope Review is now available, featuring a hand drawn cover done by me, Constance Brewer. Pen and ink drawings that were popped into the computer for some touch up and a few groundhog hole details. The Gyroscope groundhog wants you to go forth and protest for what you believe in, or at least come up for air and see what's going on around you. Take part, a little or a lot. Groundhogs don't judge.
Get your Gyroscope Review 2018 Winter issue today.
Print copies are available for purchase HERE.
Kindle copies are available for purchase HERE.
As always, our PDF version is available HERE.
15 October 2017
White Line Printmaking
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| Blue & Gold by Constance Brewer 7" x 7" White line print on Stonehenge paper. Daniel Smith watercolors. |
Updates have been thin on the ground of late because I was
pushing to get my latest print done. The Blue & Gold Macaw pictured above.
It's a bit different from my usual relief printmaking in that it's a white line
print. What is that, you ask? How is it different from the usual lino or wood
cut block?
The following from Jeanne Norman Chase as written in 1999 on
the Baren
Forum.
"White-line
woodblock printmaking began in 1915, the first woodblock printmaking unique to
the United States. Western artists admired the Eastern traditional type of
woodblock printing made by the Japanese artists. The Eastern art form required
several blocks of wood to produce a finished print. The Western printmakers of
1915 created their own style of woodblock printing using only one block of
wood.
The method started
with a group of six artists in Provincetown, Massachusetts and this new form of
woodblock printmaking became known as the Provincetown print, or white-line
woodcut. Their work has been exhibited worldwide, and recently at the National
Gallery of Art in Washington DC.
The registration was
uniquely different since only one print at a time would be printed. The side of
the paper was tacked to the board and folded back, in the same way that a book
would open. This would keep the registration lined up at all times and the print
could be left while other prints were inked.
The paper is attached
to the left edge of the block with thumbtacks, then gently folded back. This
makes the register. The paper is repeatedly lifted and printed so this method
keeps the paper in constant register.
The lines are cut into
the block with a V-shaped cut of the knife. The lines remain white in the
finished print, as only the raised areas which are left receive any color. It
is a relief print in reverse.
To print a color, mix
it alone on a palette. Apply the paint to the area (or areas) that you intend
to print. Fold the paper down on top of the block and rub very gently over the
inked area with the wooden spoon."
This method takes a while. I started working on the prints
in August, figuring I would have plenty of time to do 20 prints before the Oct. 31 deadline.
Here it is the 15th and I'm just getting done. I had to learn on the
first few prints to put enough color on first time. My prints were coming out
too light otherwise. I also found that I couldn't do more than two prints in a
sitting, because the woodblock would retain the wetness and cause some areas to
spread. I also decided next time I did this I would a) cut the lines
deeper b) use a bigger woodblock, and c) only make 4 or 5 prints.
Since this was for a Baren Forum Exchange, I needed to make
20 prints to exchange with the other participants. I'm going to get 19 other
white line prints in the exchange, how cool is that? The extra print goes to Pacific
Northwest College of Arts (PNCA) in Portland, Oregon to be archived.
I love these print exchanges because I get so many prints
from artists around the world. I study and learn from them. If you'd like to
see some of the exchanges, go to the Baren Exchange Gallery
and click on any of the active links. Some outstanding work there. Now, onwards
to more prints, and some 'Underground' work for the Gyroscope Review cover. Art
never rests.
24 September 2017
Reflections in Bronze
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| Finished bronze Native American at the foundry. |
We got to see all aspects of what it takes to cast a bronze, from taking the maquette, turning it into a plaster mould with an inner silicone or latex liner that captures all the detail, pouring in liquid wax, removing the solidified hollow wax model, removing any mould marks and seams on the wax. Even fingerprints will be duplicated in bronze if they are there.
Then a ceramic shell is built up around the wax model, it is placed in a kiln and the wax is melted out. The ceramic shell is placed on a bed of sand and filled with liquid metal, in this case, bronze. Once the shells are cooled, the ceramic shell is broken away and the bronze sculpture is revealed. Then it is just a matter of chasing the seam lines and polishing. Eagle Bronze can also cast in stainless steel. Casting a big project can take a year or more.
Some of the sculptures are so big, they have to be assembled, cleaned up and coated with a patina, then cut apart in order to ship, to be reassembled where it is going to be placed. They also make bronzes down to the small tabletop size. Artists come from all over the world to supervise the process of casting their artwork, including Arturo Di Modica, who did the famous Wall Street Bull. Eagle Bronze also did the cattle drive sculpture in Pioneer Plaza in Dallas, TX, that consists of 49 bronze cattle and three bronze trail riders. 65 bronze cattle are planned.
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| Rather large horse. (Photo snitched from Eagle Bronze website) |
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| Another huge horse being assembled and polished. |
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| Horse parts waiting to be assembled. That leg part is about 6 feet long. |
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| Stainless steel shark being polished to a mirror finish. |
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| Lion broken out of his mould and being finished. |
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| Large sculpture of a bear chastising a little Native American boy. What you can't see is the little arrow sticking out of the bear's backside. Love the expression on the bear's face. |
04 March 2016
The Art of Running in Place
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| "Aspens", by Constance Brewer, acrylic on canvas 2010 |
So lately I’ve been thinking about creativity, and how
mental and physical creativity relate to each other - at least for me. I’ve
noticed that when I’m at my most creative knitting, spinning,
weaving, sewing—really anything to do with my hands—I’m also having a good day
at the writing desk writing poems and stories.
I went delving for research to back up my thoughts and came
across this –
“New research is pointing to a possible link between bodily
movement and creative thinking.
A rich body of recent work has suggested that such metaphors
may derive from an actual and intimate link between abstract concepts and
concrete experience, and that priming physical sensations can activate abstract
ideas.
What if physical experiences not only activate existing
knowledge, but also trigger cognitive processes that enlarge knowledge in
creative new ways?
Actual physical acts appear to activate the abstract
processes that overcome mental rigidity and make new connections—the nuts and
bolts of creativity. Something as simple as gesturing with alternate hands, or
literally getting out of the box, may eliminate unconscious barriers that
restrict thinking.”[1]
Of course many of the research articles wanted to talk about
physical exercise and the creative boost one might get from it. I postulate
that you don’t have to go for a run or do laps in a pool to get the benefit of
enhanced creativity. The physical act of crafting provides the stimulus the
brain needs to boost creativity. But crafting is creative itself, you say. It
is, but there are also elements of repetition in most crafting that leads to an
often zen-like mental state.
In knitting it’s the stitches of the pattern, in
weaving it’s the rhythmic back and forth of the shuttle, in lino block
printmaking it’s the continual cutting away of small pieces of lino from the
whole. All these repetitions become second nature after a time, and allow one
to let the mind drift into a higher state.
Creativity begets creativity.
I used to think I was a visual learner, now I think I was
mistaken, that I was a more kinesthetic learner, hence all the doodling in the
margins of notebooks and clicking my pen and bouncing in my chair. I had to be
engaged in activity before my brain switched fully on.
“Some experts equate the
benefits of crafting-induced flow with the experience of meditation.
Being involved in any
meaningful creative task that requires using your hands, according to
physician- writer team Carrie and Alton Barron, can help elevate your mood,
stimulate your senses, and foster internal well-being.” [2]
I come up with my better
poems when engaged in the simple act of weaving, or knitting. By putting my
body on autopilot, I find I can engage my brain in a more meaningful way. Without
the risk of tripping over my feet and face planting. How about you, what kinds
of activities engage your creative side?
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| "In Place" by Constance Brewer, watercolor, after a painting "Vanguard"by artist Stephanie Law |
13 November 2015
Fragment Friday - The Peace Print 2015
Once again I participated in Artist Maria Arango-Diener's Puzzle Print. The theme this year was "Peace". Printmakers from around the world carve a piece of the puzzle block sent to them by Maria, and send it back when carved to be assembled and printed. No small undertaking! 160 artists, eight sections of 20x30 inch paper times those 160 artists. It is an undertaking powered by love.
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| This is the tiny section of woodblock I received, long and skinny, perfect for a Corgi! |
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| Can you find the Corgi in his puzzle slot? Facing off against a tank, Corgis are all about bringing peace to the realm. |
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| Max with his ever present tennis ball on a mission to get everyone to relax and play fetch. |
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| Also included with my eight prints was a 260 page book detailing the making of the Peace Print and a page for each artist and their print. |
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| My page and what Peace means to me. |
02 June 2010
What's On The Easel
Busy. Youngest child getting married today.
So here's a quick roundup of art projects in the works.
Mountain Goat underpainting.
Have to put his overcoat on, and sky and he'll be good to go.
Calla Lily underpainting. My first attempt at a flower painting in a long time. Not enamored with painting flowers, but I need still life practice. A tulip came out much better. I was going to paint a lemon and lime, but ended up using them for dinner. The fate of most still life subjects I suspect. Paint fast.
Woodblock for the first print in my "36 Views of Devil's Tower series. I actually have View 2 carved and ready to print, because it's on lino. Faster and less splinters.
And finally, a one-two punch of apple blossoms.
Before I even had time to paint them, let alone photograph them, they opened, they bloomed, now they're gone.
Ah well, the lilacs have yet to bloom. When they do, I'll be waiting, brush in hand.
.
So here's a quick roundup of art projects in the works.
Mountain Goat underpainting.Have to put his overcoat on, and sky and he'll be good to go.
Woodblock for the first print in my "36 Views of Devil's Tower series. I actually have View 2 carved and ready to print, because it's on lino. Faster and less splinters.And finally, a one-two punch of apple blossoms.
Before I even had time to paint them, let alone photograph them, they opened, they bloomed, now they're gone.
Ah well, the lilacs have yet to bloom. When they do, I'll be waiting, brush in hand..
09 May 2010
Get A Free Ebook From Kris Reisz And Win Artwork!

Remember that super-secret, hush-hush art project I was working on a few months ago? NO?Ah well, I forgive you.
Hard to keep track of things you have no knowledge of.
So, the secret project is complete.

Periphery Arts teamed up with author Kristopher Reisz in celebration of the release of the new version of his novel Unleashed.I created four black and white lino block prints based on four Kristopher Reisz short stories. The prints are eight by ten inches, (3) and nine by twelve inches (1), printed on Japanese Masa paper with Daniel Smith water based relief inks.
But here - I'll let Kristopher tell you in his own words.
"Hooray! Both a spiffy new trade edition and the Kindle version of Unleashed came out Tuesday!
To help promote it, I also released a short story collection, Quiet Haunts and Other Stories, as free ebook. (Click here to download it.)
Quiet Haunts contains a couple old favorites and a couple new stories that haven't appeared anywhere else. And just to make sure you guys knew how much I love you, I got Constance Brewer, the enormously talented printmaker, poet, and scourge of evildoers everywhere, to illustrate each story.
Constance sent me three copies of each print. One I'm keeping, but I want to give the other two away. So send me an email at KrisReisz@gmail.com with CONTEST in the subject line and your name andaddress in the body. Next Tuesday (May 11th), I'll pick eight people who'll get both a copy of Unleashed signed by me and a piece of original art signed by Constance.So to recap...
Pick up Unleashed, now in lovely trade paperback and Kindle editions.
Then download Quiet Haunts and Other Stories to enjoy my stories and Constance's art.
How much more Kristopher Reisz-y goodness could you ask for!?And finally, shoot me an email KrisReisz@gmail.com to win awesome stuff.
Kris Reisz
There you have it, boys and girls. Win artwork! Get a free ebook! Go buy Unleashed for Kindle or in paperback!
It's Win-Win-Buy!
It's awesome-y Kris Reisz goodness!
It's good for the economy!
What are you waiting for?
Note: Unleashed was a fine read, I enjoyed it. But don't just take my word for it. Both my teens liked it so much they had to have their own copies or much fighting would commence. What more could you ask for - A book both mom and kids can fight over!
So pick up your copy. And remember what the man said. Don't make me scourge you.
.
It's awesome-y Kris Reisz goodness!
It's good for the economy!
What are you waiting for?
Note: Unleashed was a fine read, I enjoyed it. But don't just take my word for it. Both my teens liked it so much they had to have their own copies or much fighting would commence. What more could you ask for - A book both mom and kids can fight over!
So pick up your copy. And remember what the man said. Don't make me scourge you.
.
21 February 2010
Year Of The Tiger Print
The official (for me) Year of the Tiger print for the Baren Forum Chinese New Year's Card Exchange. I had delusions of color, but decided I liked the black and white image just fine. I have two more tigers carved, in woodblock and test printed. This Bengal tiger is the one going to travel around the world, however. (If you want a tiger to travel to your house, drop me an email and I'll send one packing as soon as I get the exchange prints on their way.)
The Exchange Rules:
The Exchange Rules:
Baren Forum began sponsoring its annual New Year's Card Exchange for the 2000 new year and has continued this popular exchange in each subsequent year. The exchange prints are to be designed around that year's Chinese Zodiac Animal. Each year, members sign up by providing their name and mailing address, then print and mail a card to every other participant by mid-February of the new year. Prints should be hand-pulled, about 4 x 6 inches and may be in any media (not limited to woodblock). There is no 'moderator' -- you are on your honor to mail a print to each person on the list just as each of them are on their honor to mail one to you.4" x 6" Lino block print
Hand rubbed with wooden spoon on Masa paper
Daniel Smith water-soluble relief ink - Lamp Black
Open edition
14 February 2010
The Art Furor Continues
Another day, a new painting. A housewarming gift for a friend and his wife. Also a late wedding gift. :) Hey, you can't rush art. Or some artists, it seems.
I think I've also forgotten how to photograph paintings. I did remember to cover the flash to reduce the glare from the varnish, but it left me with a funky red glare in the middle. Ah well. I'm just happy to have a digital camera and instant gratification.
I think I've also forgotten how to photograph paintings. I did remember to cover the flash to reduce the glare from the varnish, but it left me with a funky red glare in the middle. Ah well. I'm just happy to have a digital camera and instant gratification.
09 February 2010
Lino Block Print of the Month - February
In response to a challenge from a friend - and to take a break from carving other prints - I did this lino print in a few hours. It was drawn directly on the block, carved and printed as soon as it was finished. The carving took the majority of the time, as my hands got tired quickly working on the unmounted linoleum. It wanted to buck and buckle and leap out of the bench hook at the most inopportune times. But several cut fingers later (Note to self: Keep tools sharp!), I was ready to print.
The objective was to 'go with the flow' so to speak, and not be so uptight about the art. The drawback of being a drafts(wo)man, is getting anal at times about sketching and drawing. No guts, no glory with this print. Marker to block, and carve away. Scary, and a little bit traumatic, but I seemed to have survived. Will I make it a habit? Um, a definite maybe?
The objective was to 'go with the flow' so to speak, and not be so uptight about the art. The drawback of being a drafts(wo)man, is getting anal at times about sketching and drawing. No guts, no glory with this print. Marker to block, and carve away. Scary, and a little bit traumatic, but I seemed to have survived. Will I make it a habit? Um, a definite maybe?
09 November 2009
Baren Print Exchange # 42
All turned in to the exchange coordinator, so I can move on to creating other prints. Although I have urges to do an etching on metal plate of the same drawing, just because I can. Or think I can. It all depends on if I get my etching press balanced this weekend.

I just ordered a wonderful eBook from printmaker David Bull called Your First Print. It's basically a "complete overview of the making of a woodblock print using the traditional Japanese techniques."
Just in case anyone out there *cough* Anonymous *cough* had a sudden urge to delve into the ancient art of Japanese woodblock printmaking. Because having hobbies like spinning sheep and dog fur into yarn just isn't enough for some people . . . .
- Medium:Woodblock print (hand rubbed or pulled on a press, B&W or colour, any pigments, any paper). Note: The Baren Exchange is a program for forum members to create, exchange and display editions of woodblock prints. Relief prints pulled from wood substitutes and wood-like materials, including linoleum, corian, MDF, resingrave, and similar are acceptable as are collagraphs. Coordinators are obligated to reject prints whose primary method of production is by other means. For example: monotype, intaglio, stencil, lithography, ink jet, laser, photocopy, etc are to be rejected by the coordinator.
- Theme: Open
- Image size: Any size and orientation within the paper
- Paper size: Chu-tanzaku, about 3 x 9 inches (7.62 x 22.86 cm)
- Paper type: No restriction

I just ordered a wonderful eBook from printmaker David Bull called Your First Print. It's basically a "complete overview of the making of a woodblock print using the traditional Japanese techniques."
Just in case anyone out there *cough* Anonymous *cough* had a sudden urge to delve into the ancient art of Japanese woodblock printmaking. Because having hobbies like spinning sheep and dog fur into yarn just isn't enough for some people . . . .
20 September 2009
Back to Printmaking
It's printmaking Exchange time again over at the Baren Forum. Well, actually, the signup for this exchange was July 1st with prints due November 1st. I actually had my images partially carved by August 1, put them aside and promptly procrastinated by doing other prints.
The gory details
The only images that came readily to mind were a train (horizontal), but I'm not really into choo-choos, guitar (horizontal) but I've had my fill of guitars - a later post - and a rock climber rappelling (vertical). Liked the idea, still do, but none of my sketches were coming together. Then I remembered a Japanese printmakers, Hiroshige, a ukiyo-e artist. He did a lot of Chu-tanzaku images.

Now I had an idea, a print with one of my favorite creatures, a red winged backbird sounding off.
Since this was a new print size for me, I chickened out and carved in linoleum rather than the shina plywood. Until I can afford some good quality moku hanga carving tools, I'm going to stay away from anything more than the basics in wood.

Two of the carved lino images. I added some reeds to the cattail the red wing is sitting on, and decided on a fall cattail, beige and fluffing out. So five colors for this print, baby blue sky, tan cattail (olive where it overlaps with the sky color) light black bird, yellow beak, feet and shoulder patch, and a dash of red for the shoulder patch. We'll see how it goes, registration is not my strong point.
I have the paper soaking for printing in a ZipLock bag. Stonehenge Natural White, I'll probably try some prints on Masa paper, maybe some Mulberry paper also. If I'm happy with the results, you'll see a final image. If not... back to the studio and some frantic carving. Keeping my rock climber drawings close - just in case.
The gory details
I was a bit flummoxed by the paper size requirements at first.
- Medium:Woodblock print (hand rubbed or pulled on a press, B&W or colour, any pigments, any paper). Note: The Baren Exchange is a program for forum members to create, exchange and display editions of woodblock prints. Relief prints pulled from wood substitutes and wood-like materials, including linoleum, corian, MDF, resingrave, and similar are acceptable as are collagraphs. Coordinators are obligated to reject prints whose primary method of production is by other means. For example: monotype, intaglio, stencil, lithography, ink jet, laser, photocopy, etc are to be rejected by the coordinator.
- Theme: Open
- Image size: Any size and orientation within the paper
- Paper size: Chu-tanzaku, about 3 x 9 inches (7.62 x 22.86 cm)
- Paper type: No restrictions
The only images that came readily to mind were a train (horizontal), but I'm not really into choo-choos, guitar (horizontal) but I've had my fill of guitars - a later post - and a rock climber rappelling (vertical). Liked the idea, still do, but none of my sketches were coming together. Then I remembered a Japanese printmakers, Hiroshige, a ukiyo-e artist. He did a lot of Chu-tanzaku images.

Now I had an idea, a print with one of my favorite creatures, a red winged backbird sounding off.
Since this was a new print size for me, I chickened out and carved in linoleum rather than the shina plywood. Until I can afford some good quality moku hanga carving tools, I'm going to stay away from anything more than the basics in wood.
Two of the carved lino images. I added some reeds to the cattail the red wing is sitting on, and decided on a fall cattail, beige and fluffing out. So five colors for this print, baby blue sky, tan cattail (olive where it overlaps with the sky color) light black bird, yellow beak, feet and shoulder patch, and a dash of red for the shoulder patch. We'll see how it goes, registration is not my strong point.
I have the paper soaking for printing in a ZipLock bag. Stonehenge Natural White, I'll probably try some prints on Masa paper, maybe some Mulberry paper also. If I'm happy with the results, you'll see a final image. If not... back to the studio and some frantic carving. Keeping my rock climber drawings close - just in case.
19 July 2009
And Now For Something Completely The Same
More lino prints. Actually, one lino print and one painting WIP. And Corgi pics, because I know someone Anonymous is going through cute withdrawal.
Remember way back when I posted about What's In Your Basement? and Citizens of The Basement, Redux? Well, I finally got around to making a print from one of the animals that lurks in the basement of Elaine's house. Hopefully this is the first of several.
Cape Buffalo
Lino block print on masa paper, black water soluable ink, hand-rubbed with a baren.
Remember way back when I posted about What's In Your Basement? and Citizens of The Basement, Redux? Well, I finally got around to making a print from one of the animals that lurks in the basement of Elaine's house. Hopefully this is the first of several.
Cape BuffaloLino block print on masa paper, black water soluable ink, hand-rubbed with a baren.
Because I cleaned my art office some (no, really) and the acrylic paints were lurking on my drafting table, I played with a quick painting of a moose. I am woefully out of practice with paint...


Moose
Acrylic on canvas
Acrylic on canvas
To make up for it, here are a couple of pics of my supervisors, faithfully overseeing my art production, and wondering when I'm going to quit fooling around and fix their dinners.
11 July 2009
Lino Prints Again
Another lino block print, image from my sketchbook - since I can't read my own writing, I'm not sure, but I think it's a Norman soldier without a kite shield.
Doesn't matter, since it was an exercise in taking a sketch, dropping it onto a lino block, carving and printing. Watercolor added on top because I can't leave well enough alone. Not fond of this color scheme, there are a couple more I did with better colors - but this one was dry, so it wins.

Next up will be a Cape Buffalo, long overdue for a friend with a big game hunting husband. Sketched out in marker directly on the block and now being carved. We'll see how that works out, a new technique for me. I'm trying to be a bit looser in my drawing. I tend to get anal retentive with a pencil, so we'll see if a broad Sharpie makes a difference.
.
Doesn't matter, since it was an exercise in taking a sketch, dropping it onto a lino block, carving and printing. Watercolor added on top because I can't leave well enough alone. Not fond of this color scheme, there are a couple more I did with better colors - but this one was dry, so it wins.
Next up will be a Cape Buffalo, long overdue for a friend with a big game hunting husband. Sketched out in marker directly on the block and now being carved. We'll see how that works out, a new technique for me. I'm trying to be a bit looser in my drawing. I tend to get anal retentive with a pencil, so we'll see if a broad Sharpie makes a difference.
.
07 July 2009
Birthday Prints
A collection of prints for my Anonymous brother, who has owned and loved German Shepherds for a long time (and who could have a Corgi if he'd only ask...).
For his birthday - only a little late - Hey, the prints are in the mail. Or will be. Soon. Honest.

Woodblock print, 4x6 inch, carved from Shina plywood, printed with lamp black water-soluble ink, hand-rubbed on Japanese Masa paper with a bamboo baren.
(Excuse the crookedness and cut off side of the prints, they were a tad too big to fit on my scanner. Only nipped a half inch of the GSD's tail, though)

8x10 inch Lino print carved from Battleship linoleum, printed with lamp black water-soluble ink, hand-rubbed on Japanese Masa paper with a bamboo baren, hand colored with watercolors.
Because one, or even two German Shepherds are never enough...

8x10 inchLino print carved from Battleship linoleum, printed with lamp black water-soluble ink, hand-rubbed on Japanese Masa paper with a bamboo baren, hand colored with watercolors.
And a GSD head, uncolored.

8x10 inch Lino print carved from Battleship linoleum, printed with lamp black water-soluble ink, hand-rubbed on Japanese Masa paper with a bamboo baren.
Happy Birthday, Bro.
.
For his birthday - only a little late - Hey, the prints are in the mail. Or will be. Soon. Honest.

Woodblock print, 4x6 inch, carved from Shina plywood, printed with lamp black water-soluble ink, hand-rubbed on Japanese Masa paper with a bamboo baren.
(Excuse the crookedness and cut off side of the prints, they were a tad too big to fit on my scanner. Only nipped a half inch of the GSD's tail, though)

8x10 inch Lino print carved from Battleship linoleum, printed with lamp black water-soluble ink, hand-rubbed on Japanese Masa paper with a bamboo baren, hand colored with watercolors.
Because one, or even two German Shepherds are never enough...

8x10 inchLino print carved from Battleship linoleum, printed with lamp black water-soluble ink, hand-rubbed on Japanese Masa paper with a bamboo baren, hand colored with watercolors.
And a GSD head, uncolored.

8x10 inch Lino print carved from Battleship linoleum, printed with lamp black water-soluble ink, hand-rubbed on Japanese Masa paper with a bamboo baren.
Happy Birthday, Bro.
.
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