Lumbini (Buddha)
Image size: 11" x 28.5" (28 x 72 cm)
3 shina plywood blocks
7 hand-rubbed impressions
Paper: Rives Heavyweight
Edition: 24
Every block has a unique way of printing, and this last layer, the border and top, was the most difficult of the 7 different impressions to print. The dark top area needed paste to print smoothly, but I discovered that if I didn't use too much paste I could get a nice grain pattern, which I really liked. Through the whole print run I was constantly trying to judge exactly how little paste I could get away with.
The other issue was the paper stretching when I printed the border. This had been an occasional problem on the other two prints as well, but it was really bad with this block. The paper really moved around, as you can see from this photo:
I had to experiment quite a bit before I found a satisfactory method of getting everything to line up. I ended up printing the top area first, then moving my baren down one side, returning to the top and barening down the other side, then ending with the bottom. As I barened down each long side, the paper would begin to buckle and stretch, so there was no going back over anything. I had to just let the paper move the way it wanted to and sort of "walk" it down the length of the print. Hard to describe in words, but it worked.
I'm happy with this print and thrilled that I've finally finished this triptych!
9 comments:
This is a wonderful print - I adore the rich red and appreciate the skill needed to print it. This image is closer to me, spiritually, than the others in the series. Lovely work. Bravo!
Annie, your final print is gorgeous. I wasn't expecting it to turn out this handsome as I watched it unfold. I kept waiting for the punch and you got it with that deep red.
Gayle
Your series is inspired and lovely in every way. I particularly love the rich warm red with the gold, and so emblematic. I think this print expresses Buddhism spirituality perfectly. Great job on the entire series – where will you go next??
Thank you, friends. Andy, I too feel very close to this print. Gayle, I felt the same way you did as I watched it progress. Had a big "uh-oh" in the middle and almost lost heart. Who knew that printmaking could be such an emotional roller coaster?! Sharri, I'm asking that question myself: what's next?
Annie! So lovely! If I didn't know any better I would swear that there was gold leaf in it! That's the lovely trick of tan yellows against burgandy. Great job! I too did a longish printblock and ran into the same "walking" problem with the paper. Never found a good solution. I'm curious what your experience was with printing on Rives Heavyweight. Did you really have to baren hard to get an impression?
Lovely! I've loved the idea for this series/triptych. Will you show us the three together? I'd love to see that.
What a fabulous print, so rich and deep (and so evocative of Buddhist philosophy).
@Lana - I've found Rives Heavyweight to be a pretty good moku hanga paper when money is tight. It does take a bit more Baren pressure than some of the Japanese papers, but it holds up well with multiple overprints.
@Steve - Thank you! I just posted a composite of the three prints together.
@Sue - I'm glad you like it! I know you have more than a passing acquaintance with Buddhism, so your feedback is much appreciated.
your work will certainly inspire a generation!!
Post a Comment