21 November 2010

Printing Big In My New Studio


This Israel/Palestine print I'm working on is the first large print I've done in my new house. The paper size is 19 x 26 inches (a half sheet of washi) and the studio in my new house is smaller than my last space, so I decided I needed some extra surface area to print these comfortably. Found the little 4-foot folding table above at Staples to do the job. I like it because I can set it up when I need it, but it's easy to fold and store behind the door.

Sometimes I carve all or most of the blocks at once and then do all of the printing at once, but sometimes I work back and forth more between carving and printing. In this case I'll be doing some reduction work on some of these blocks, so that means carving, printing, carving some more and printing some more, all on the same blocks. I began by carving two blocks that are basically opposites of each other, like jigsaw puzzle pieces.


These two blocks define the areas of Israel and Palestine that are divided by the Separation Barrier, areas which are in fact a lot like a jigsaw puzzle. I printed the Palestinian territories in a yellow/tan color:


and then I printed the Israeli territories in blue:


You can see clearly the white outlines of some of the "characters" I'll be adding to the print in the future. I'll tell you about them later, as they appear on the "stage."

On top of these two colors I added a layer of gray just to tone it down. I took a photo, but you can't really see the difference that the gray makes in my not-very-consistent photographs. Trust me, though, an overprinting of gray helps blend and tone down colors.

My next step is to carve each of these blocks a little more. Rather than land features, I'll be showing something more like population densities in each of these areas. But I doubt that I'll make much progress before the Thanksgiving holiday, so see you next week. Safe travels.


betsy best-spadaro said...

hi annie, i look forward to seeing how this print progresses as i really enjoy your work! one question...how do you address the issue of re-wetting the already printed paper when there is a bit of time between printing sessions. this may seem like a silly question but all of my moku hanga experience has been to carve all the blocks and then have a marathon printing session. thank you!

Annie B said...

Hi Betsy, not a silly question at all. I learned to print moku hanga all in one big marathon too but I don't like it that way. I just let the prints dry while I carve some more and re-wet them when I'm ready to print again. At least with the pigment suspensions that I use, there's no smearing or offset of the pigments when re-wetting the backs of the sheets.

MaRegina said...

nice studio! joy and success!

Magic Cochin said...

I love how you approach printmaking from an information/illustration/communication direction.

I can tell that the intricacy of the boundary line fascinates you - and how that 'line' inpacts on lives on the ground.

It's so interesting to follow your prints as they develop, how you have worked things out but not totally and the print still has surprises up it's sleeve.

Good wishes for your Thanksgiving holiday.

Bette Norcross Wappner -- said...

Looking forward to seeing the progress of another great print! I also enjoy learning what you've learned.

Renee A. Ugrin said...

So nice to see your work in progress once again. Looking forward to the evolution of this complex subject, thank you so much for sharing your thoughts and process. Happy Thanksgiving!

Isamudin Ahmad said...

nice work in new studio! joy and success!

Non-Indigenous Woman said...

I envy this studio. Nice!

Jennifer said...

Great work... and I LOVE your studio space! So envious!!!!