Classes Coming Soon

Classes are still about 3 weeks away, but there is plenty to address before then.  I have already mentioned that I was asked to produce a written version of what woodcut is for a mass promotion that Nichole is planning sometime before the classes start.  Wrote and e-mailed that to her a few nights ago.  At the time she requested it she mentioned that she might look on the web for some kind of image to go with it, or to go with it on a social media posting, as she believes that the lagging sign-ups could be because potential students don't know what woodcut is.  Based on my experience in the world, she might be right.

In the late morning I went up to the Studio.  Partly I was there to do some art stuff.  Nothing new, but checking on the progress of narwhal related items.  The third proof seemed pretty dry, so whenever I'm back up there to color I can start the process of coloring the last one.  On two occasions over the last week I brought some old newspaper with me and each time took another blotter proof of the block.  Some people like to clean their wood blocks after printing, using water or solvent depending on the ink used, but I never teach that.  Instead, I use scrap paper and take what are commonly called ghost proofs, using residual ink on the block to make a print.  I think it's better long term for the block and it still serves the purpose of cleaning off the excess ink, which means it will dry faster. Did the last such proof a few days ago, and today the block was almost completely dry.  Still just a hint of ink, but nothing thick or gooey. I think by next week the block will be ready for the last phase, coloring the wood block itself with color relief inks, turning the block into a colored relief sculpture suitable for my niece to enjoy as an object.

Since Nichole was in I stopped to see her as well.  She confirmed that she had received the latest e-mail, but hadn't looked at it yet.  Soon she hopes. (very busy with grant season) Told her I was planning to send her a potential image to use with my woodcut write up, and she was welcome to use it or not.  Was a bit surprised to see Matt at his desk, as usually his hours are later.  Got answers to some of the questions raised by his recent newsletter.  He confirmed that the air conditioners were mostly going to spaces on the top floor, the warmest part of the building.   There is no plan to air condition the entire building- there are no existing ducts and running AC units large enough to do that  is beyond what the building can do.  Although there is no policy requiring them to do anything, he has been making small units available to spaces, but there are rules and maintaining it is the responsibility of the room, and since Molly is the lease holder, I can't agree to anything in her place.  I'm not even sure how it would work with our windows, which are not designed to hold an air conditioner.  As Matt pointed out, there has been less priority down in the basement because the air is typically cooler down there.  That is true, but I reminded him of the tendency to get damp heavy air down there in the summer (which officially began today) and how I had discussed this with Nichole the other day.  He said he was aware of that and that Nichole was working on the problem.  As long as someone deals with it. I also reminded him that despite what he said in the newsletter, I had classes planned for July and August.

I've taught a lot of different classes in a lot of different locations and settings, but one thing seems to be universal- students respond best to seeing examples of the process and projects.  I knew of the concept and process of relief printing for a long time, but it was only after reading a large book about German Expressionist art for a painting class and seeing the many small reproductions of woodcuts that filled spaces in the book that I decided I had to try this myself.  In my woodcut workshops I bring a bunch of print exchange folios so students can see a wide variety of prints and get excited, and a selection of my own blocks and prints so they can see a practical example of how it works.  One I always use is a small woodcut from my old Dubliners series, showing a beer bottle and a plate of peas on a wooden table.  Also use it in my intro classes as an example of printmaking.  It demonstrates the ideas of relief, of positive and negative space, textures, and the mirror image from the block to the print.  I figures that would explain the process as well as anything I could ever write.

So I shot the pair, side by side, over a large piece of white paper on my tack board.  Sent it to Nichole in an e-mail this afternoon. Whatever else happens, I now have this on a computer and can use it wherever I use a digital image.