We cut this big dead Honey-Locust (Gleditsia triancanthos) at Boaz last fall. I cut him in half out there free-hand, which took nearly 3 hours, then hauled him home. After some flattening I cut the halves into 3.5″ slabs. I still had to use the tractor to move them.
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
Courtesy of my creative hens
Progress on the underpainting in grisaille for the Thomas panel since abandoning egg tempera.
I have been working with Tad Spurgeon’s text lately. It is chalk-full of information on the craft of painting, from technique to philosophy, historical research and criticism to in depth analysis of oils and their endless permutations, pigments, resins, additives, and etc, with many useful formulas and recipes. I have not explored enough to venture a review, but I am enjoying it.
Wide Black-Walnut stickered and acclimating since September
Flattening with a router and jig
Cutting to over-length (with a badly neglected Diston. I sharpened and set the teeth and she cuts quick and true, though in need of a polish and new handle).
Acclimating once again and awaiting final dimensioning.
Go On, Pilgrim, the Outer Life and Inner Life Version.
Featured today is a small cabinet painting modeled after the Northern European alter-pieces of the 15th and 16th centuries. This was painted in 2003 with oils on oak panels. The case-work is black walnut.
The School of the Transfer of Energy 