The School of the Transfer of Energy
workshop studio land
New Pages
Posted on April 29, 2013
The first batch new pages are up. They are a new Printmaking page and a page called the Legend of Walking Man. You can find them under the title “Work” from the main menu above. The Walking Man page, I expect to be adding more information about Walking Man over time, so if you like that fellow please check back every once and a while. In celebration of the new pages, todays image is pulling from both, to wit, a print of Walking Man.
Walking Man in the Tallgrass Prairie
The Dove and Rings
Posted on April 22, 2013
The Dove and the Rings, copper engraving, 2003
I have been rephotographing some of my work as I update the pages here at The School of the Transfer of Energy. I always forget about this engraving that I did back in 2003 for the wedding announcement of my greatest friend. There is nothing in my experience to compare with the quality of line that comes from engraving copper. My poor example here is nothing compared to the great masters of this art, both living and dead. All the same I breath a deep breath of satisfaction at seeing the beautiful lines brought about by such force and intensity as the cutting of the copper and the pressure of the press.
Zechariah
Posted on February 6, 2013
Zechariah, proof of a 3- color lino-cut.
I’ve been tinkering with this print for a few months now trying to get it right- not really sure that I am getting anywhere. While the 3rd block still needs a little adjusting- some of the lines are too narrow and gather ink to fast- it seemed ready to offer up here. Maybe you can give me some insight.
The print employs 3 different blocks, and there are in truth 4 colors if you include the white of the paper, which is part of the design. To cut down on time between printings in developing the proofs, I have been using water based inks. The final edition will use inks with oil as the vehicle. I have included a number of images from my process and some variations of the actual print along the way.
Proof of the main block
Obviously, not complete, but I like the silohuette
While not the best pull, this is my favorite one right now
Zechariah (the Prophet) and Walking Man (detail)
Posted on December 4, 2012
Cutting linoleum for a relief print of the prophet Zechariah holding a banner saying “Grace to it”
Some new work on the objects in the foreground of Walking Man and the Ancient Ocean.
Goshen the Ewe Lamb, Lino-Cut and Bezalel’s Workshop.
Posted on November 15, 2012
Goshen, Ewe Lamb, color reduction lino-cut, 4.5″ x 6″
Bezalel’s Workshop, sumi ink drawing (unfinished) 9″ x 12″
Yaakov, I hope you approve so far 
Ewe Lamb; Color Reduction Lino-Cut
Posted on October 17, 2012
A few images from the inking and printing the first step and color in a small lino-cut edition of one of my ewe lambs.
In the color reduction process, multi-colored prints are achieved by a succession of printings, when more of the design is carved out at each round of printing, working from light to dark.
This first printing resulted in blue and white. The next printing will be a green followed by a black or dark brown. In these images, everything which is white has been craved away already, and that which is to remain blue must be carved away before the green printing.
Brouwerij West Crowns
Posted on October 9, 2012
Brian Mercer of Brouwerij West did a nice post on the crowns I designed for them. Brian was a pleasure to work with. He even sent me some beer. You can see his post here, and below are a few more pictures of the process. We ended up with black and white but in the trial process I used four different registered blocks to achieve various color arrangements.
In Color: Go On, Job, Bread & Water
Posted on July 14, 2012
Colored proof of the Job lino-cut, using water based inks.
Freeze and Thaw: Failure and Success
Posted on February 2, 2012
2012, Drypoint of Moses in the Rock, 4 1/2″ x 6″. Unlike an engraving which captures the ink in incised lines, the drypoint image is made by scratching the copper with a stylus, which raises a bur, trapping the ink on the surface of the plate. This produces a “softer” or “fuzzier” line than the crisp and precise engraved line. This also makes deeper tones possible, which I wanted for this image. I am not sure that I have not failed in my attempt. Yet I am not disappointed. Failure is the plough.
Fire and Gravel. 2012, Engraving of Waking Man drawing a comet, 3″ x 4 1/2″. The difference in line quality is readily observed in this engraved image.
A slightly earlier state of the Moses drypoint.
Slideshow of images from the printing process.
