The block is cut -

"Salt and Pepper (Artists' Proof)"
erasercut by Mick Mather
- click on image to view full size -

More than a few folks whose blogs I visit or make comments at same, are talking about printmaking. Lisa Sarsfield did a lovely cut of some teasel that I particularly enjoyed. A few months ago I, too, was cutting a block for the first time in years and today's post is the result using the reduction method to get a print with more than one color or hue. To reach this point you begin with a drawing on the block (see the original sketchbook drawing here) and begin cutting. After inking the block in black and laying it to a piece of hand-made paper I ended up with a white-line drawing (the white paper serves as the second color). Next the gray areas and a line frame were cut. The block was inked again with dark gray and, using a registration template, laid to paper a second time to get his three-color print.

Inside looking out -

"Look Through Any Window"
digital collage by Mick Mather

I'm about to engage in cutting a block. The object of the exercise is to make a new block-relief print, something I haven't done in well over a year. Toward that end, my current work is being tested and certain filters are now employed to give me a specific look. Today's post would make a delightful reduction block-print but the context in which the work is to be created has a strict deadline. It is therefor likely that I'll have to leave this particular image for another day. Well, back to work.

While I was out walking, again -

"All That I Survey"
manipulated photograph by Mick Mather

I've set myself to the task of scanning all of my old photographs that were taken with film using my trusty, old and beloved cameras: a Petrie 35mm fixed lens beauty purchased in the late 1960's and a rather modern (at the time) Canon Z115 with automatic zoom and lots of bells and whistles. While pleasantly occupied I came across some of the documentation of Greymoor Walk along with a number of other treks, that I was never certain how to apply to that task beyond matted and framed prints. With all of the technology that I have at my fingertips today, the process of creative interpretation is now as simple as the decision to press on. It's funny though, as I run things through the super secret array here at the Secret Visual Laboratory, I find myself dwelling on drawings and block-relief printmaking for some of the work. Who knew?

Something graphic -

"The Checkered Jacket"
digital collage by Mick Mather

Many years ago, when I was doing block-relief prints 95% of the time I worked only in black and white. This digital collage is just the sort of image that I'd transfer to a block, cut and edition without batting an eye. The checked pattern of the jacket is the attraction for me in this piece and the rest of the image is almost incidental. As I look at this and reflect, it occurs to me that there's a lot of my old print work that might benefit from a revisit here. I think like this from time to time and with so much work to do, it's hard to justify the time spent again on old work. We'll see.

Are you ready for some football?

"The Golden Peach"
erasercut by Mick Mather

I think I mentioned something about posting a few of my block-relief prints last week. Well, here we have a portrait of the lovely Donna Lee. She and I were great mailart pals back in the late 1980's and into the 90's. We almost met one cool, Spring evening in Omaha, Nebraska but alas, it was not meant to be - yours truly, who had been working on his travel calendar for months simply screwed up the arrival date by a full 24 hours! Anyway, her handle in those haughty days of art exchanges via the mail, was The Golden Peach. Now, I really must go, the NFL Season has begun and I have much to do to get everything situated for as many of the 3 available games as I can handle!

Back to school -

"She's Not There #45"
digital collage by Mick Mather

In tonight's post I hark back to that time when my printmaking was literally hands-on for the 20+ years spent cutting linoleum and erasers using the block-relief method. For those who don't know, this entails drawing on the block and then cutting away the negative spaces, leaving the image in relief. Ink is then rolled onto the block, paper laid atop of it and through hand pressure, using a wooden spoon, a barren or a press, the image is transferred ... but, I digress. While the image seen here tonight is digital, it has that old school, block-relief print look about it and much of my work from those days looked a lot like this.

I'm Late! I'm Late! -

"Blind Side"
block-relief print (state proof) by Mick Mather

The end of one long work week hasn't quite arrived. I have the duty at a local art gallery this evening, so my day won't end until 8:00pm. This is not a complaint, mind you, but surely a handy excuse for another hit & run post tonight. I haven't shown much of my old school, block-relief printmaking in quite a while so have a peek at one of my own personal favorite pieces. For those of you who are used to seeing an Illustration Friday image at this point in the week, I uploaded that image at my other blog: Outer Dust Rings. If I'm not right here when you get back, I'll be at The Westcott Community Center Art Gallery and then to OHM for a cocktail or two. Ta!