SPRUCE TREE AT PIG COVE

SPRUCE TREE AT PIG COVE

MY FIRST PRINT OF 2018

This was based on a watercolor of an old spruce tree that was a host for quite a bit of old man's beard lichen The tree was clinging to the edge of a steep bank above the shore. The original watercolor was done on a painting trip to the Boothbay Region of Maine in September. It is made from 8 blocks and 13 rubbings.

MY LAST PRINT OF 2017

I completed Burnt Island, a watercolor woodblock print in late December 2017. This image measures 7" x 17" and is printed from 5 blocks with 10 rubbings. I designed it from a watercolor done on a painting trip to the Boothbay Region of Maine in September. 

A COMMISSION: CAPE SPLIT, VIEW TO THE SOUTH

I recently completed my first commissioned woodblock print, Cape Split, View to the South, image size: 9" x 19", 8 blocks and 12 rubbings. The subject is the view from a family's property in South Addison, Maine. In August of 2017, I painted watercolors on-site over two days and then shared them with the family. We communicated during the design stages to help identify what was most important to them. Two of the family members had purchased some of my work earlier in the year and their mother suggested the project.

A BIT OF HISTORY AND PROCESS

I was a painter for over 30 years, and in 2007 took a workshop in Moku Hanga, Japanese watercolor woodblock printmaking, and fell in love with all parts of the process. Following two years of practice, color woodblock printmaking gradually replaced painting as my primary medium. The process is contemplative and low-tech with distinct steps: designing an image, carving the blocks and experimenting with colors while proof printing, refining the blocks and ink colors, eventually printing the image.

I paint numerous watercolors en plein air, during the warmer months, returning to favorite places each year. I favor the undisturbed landscape, usually nature preserves, state parks, wildlife sanctuaries, or “undeveloped” coastal areas. I am particularly drawn to Downeast Maine; the Schoodic Peninsular, Steuben, Addison, and Lubec. Distinctive trees, crashing surf and rocks, bogs, boreal forests, marshes, and active skies are frequently my subjects. During the cooler months, I study these watercolors and select the ones that best capture the spirit of place to use as designs for woodblock prints.

I usually begin an image with sketches or paintings done on-site, and then simplify the design, focusing on the lines of movement and the essential shapes that define the image. After figuring out how many woodblocks are needed to separate the colors in the design, I transfer the shapes in reverse to woodblocks. On each block, I carve away areas that will not be printed leaving the raised (relief) image. I apply light-fast water-based pigments and rice paste to the raised areas, mixing them with a brush directly on the block. Then, I place dampened paper on the block, and rub it with a hand-held baren to transfer the impression. Multiple blocks are used, usually one for each color; overprinting two colors creates additional colors on the print. Usually I print the lighter colors first, and the darkest one last. I print some blocks with a Bokashi (gradation.)

I primarily use Rives, a 100% cotton French paper. All matting and framing materials are acid free and archival. 

I had a great Artist's Residency for the month of June at the Schoodic section of Acadia National Park in 2016. I did many watercolors of the surf, coastal views, rocks and views on little Moose Island, and forest scenes in the park, and some paintings at the nearby Corea Heath. I've been working on images from this experience and have new sketches from 2017 to use as subjects in 2018.