October Approaches!

 

The Scholar Adept.............

Stoneware, cone 6, with stain.  Roughly 11" high.

Created for an upcoming art auction to benefit the cultural arts.

 

Slip Monotype Vessels....take 3

Stoneware, glazed interior, 8"x3"x4"

Stoneware, glazed interior, 7"x3.5"x3"

 

Slip monotype experimentation...take 2

stoneware, 8 x 3.5 X 3.5 inches.

stoneware vessel, 8 x 4 x 3 inches

stoneware vessel, interior glaze, 4 x 4 x 3

 

Monotypes and monoprints @ the End of Summer

 Exercises in oil paint monotypes and monoprints.   A few with spray paint tossed in.

Houses and slip monoprinting

 

stoneware with slip & oxides.  Roughly 16-inches x 4-inches x 4-inches.

stoneware with slip & oxides.   Roughly 8"x3.5"x3.5" and 13"x4"x4".

An interesting first exploration, but not quite what I had in mind.  More explorations to come.

Studio Sale in August

 

ARTifact......the Spherebot

 

.....stoneware with copper wash.   Roughly 3-inches in diameter.

Home Sweet Home................

Raku Houses.  Roughly 9-inches tall.   Ceramic.

Creating acorns.....

 

.....on the wheel.  Texturing is performed after trimming.

Poets, Actors and Oracles............

 

.....the Pale Court of the King in Yellow.   Charlatans, dreamers and fools that haunt the doomed city of Carcosa.  Sold.

Procession of Poets..................

...........ceramic, stoneware with oxides.   Roughly 9-13 inches tall.   

 

Crows on the Wall...................

prototype wall-hanging crow, stoneware with oxides, about 7-inches tall

Crows on the sculpture wall of the studio 

 

Print Day in May......

 

.....plus a few prints created in the past few weeks.  All are monoprints or monotypes made with oil paint on Bristol.  

Large scale monotype explorations..................

 .....on 18x 24 watercolor paper using Golden Open acrylic paint on a 16x20 gel plate.

Oil paint monotypes.......

 on Bristol paper.  Created using the Dan Tirels' style of applying paint to a plastic sheet and flipping it over onto the paper.  I am addicted to this style of monotyping (or monoprinting depending on the process).

Wheel throwing.............

 

........garden totems bits and bobs.

Freshly Rakued Crow-Kin.........

 .....still hot from the reduction chambers.   The next step is a good scrubbing with scouring powder once they've cooled. 

Raku Firing.................

My Trusty Assistant and Official Observer: Calligraphy Jones

 

Big Monotype Tests.................

 ....18 x 24 Canson watercolor paper with Speedball Block printing ink.   Using a 16x20 gel plate and trying to determine the amount of ink required for these.   It's quite different from using a smaller plate.

My first collagraph.........

 

......after watching many hours of videos on YouTube, I decided to try this process.  I was also curious if I could use my clay slab roller as a printing press.

I cut a small sheet of mat card and applied GAC-100 (an acrylic medium), LiquiTex Stucco paste and Golden Gloss Gel medium in various shapes.  After the mediums dried, I coated the entire piece with Krylon gloss spray.  The coating is to prevent the matboard from soaking up the ink.

I then applied Akua Intaglio ink and wiped it back with cheese cloth, because I have no scrim (a stiffened cheesecloth material).  Since the cheese cloth is quite flexible, I was careful not to over wipe the plate.   I placed the plate on a piece of matboard atop a silicone mat and then used a towel folded in quarters as a blanket (since I do not have proper felt print blankets).

I set the slab roller to the minimum height and rolled the table twice.

print on the left, plate on the right

The resulting print on 88# (189 gsm) paper embossed fairly well and certainly printed.  I soaked the paper in water for about 10 minutes.   The slab roller works, but obviously a real printing press would offer superior results.  Keep in mind that I have zero experience in making or printing collagraph plates, so this is all just an amusing experiment.

Freshly fired Crow-Kin.........

 .....no, not by DOGE, but bisque fired to a toasty approximate 1922-degrees F.   Next step is an oxide application, glazing and a final raku firing.  

Monoprints, monotypes....

 .....testing various inks with gel plates.  The blackest black appears to be Speedball block printing ink, followed by Cranfield Safe Wash Black relief ink.   I've tried Akua Carbon Black Intaglio ink several times now and still have yet to obtain satisfactory results - the opacity is not 100% and definition is not crisp.    All the inks mentioned are easily cleaned up with water and soap.   I love the Speedball ink, but the ink reactivates with any liquid medium,  so collage is not an option.

The Prophets........

 .....of Leng.  Stoneware with oxides and stains.  Roughly 8.5 -10 inches tall.

The Growing Resistance......

 

.......the Crow-Kin prepare to march!

"The Traveling Man"...................

 

...........ceramic, stoneware, raku-fired.   15.5" x 5" x 5".

"The Artificer"...................

 

.......ceramic, raku-fired.   16-inches x 5-inches x 5-inches.  

The Night Road Home................

8-inch x 8-inch wood panel, acrylic & charcoal

 

Signs of the Times............

"Data Dump" Monoprint (spray paint and oil paint)  About 4" x 7"

"The Future is Looking Nuclear Bright"  Monoprint (acrylic & oil paint) 5"x7"

 

On The Road................

 .....To Shambala.   Ink monotype.   9x12.

Monoprinting......

 

.......directly onto 8"x8" wood panels.  The results will serve as the first layer of whatever these become.

Outpost Zero..............

"Outpost Zero"  Mixed media.   6-inch x 6-inch wood panel.