Redeemed?

 I was up early enough this morning to attend the figure group that meets up in Ocean Grove, so I went up there.  Got my stuff from my basement space, and went to the room.  Again, not a huge crowd, maybe 5 or 6 total, but that more than enough to pay the model.  My understanding is that we had another substitute today for the scheduled model, and in any case she was new to me.  As usual we started with gestures, so I started with pencil in my small sketchbook.  Gradually we moved to longer poses, and for the last two I got out my large sketchpad and charcoal.  The first of these was a 20 minute, but I didn't like the results at all, and never even finished it.  She had brought some props with her, and put on some very loose jeans and a cowboy hat for the last 15 minute drawing.  That one is below:

At first I wasn't even sure I was going to stick around and do it, but I figured this was my last chance to produce something decent today.  (earlier shorter pencil drawings were ok, but nothing to write about)  I liked this last one I did the best of today's work, and others complimented it as well.  The model came around at the end to see it and also liked it, asking to take a photo of it.  Maybe it helped that the person handling the music put on some country-ish tunes during the last drawing, and it put me in the mood.  In any case, I was glad that I hung around long enough to do it, as it was much better than the previous piece, which would have been my last one if I hadn't done this.  I took my own photo of it down in my space later.

After that I decided to go over to the office.  Jeanne was in, so I asked her about postcards and flyers and such.  After all, the reception/opening is in less than a week. However, Jeanne admitted she had nothing, and we would probably have them some time after the reception.  She stated she probably should have dealt with it sooner.  Had to agree there, as promotional stuff should be distributed before the actual show, not after it has already begun.  Things have been released about it to the press and online, so at least we have that, and I'll be promoting it online as well, including emails to people who might have an interest in seeing it.  Not much more I can do.  I will put something about it on this blog in the next few days.

Boardwalk Days part 35

 First thing this morning I checked email and had one from Jeanne at the JSAC.  It was a mass email to all show participants saying that the receiving of work for the upcoming show would be ideally today or tomorrow. but that the current show she wanted to keep up through Saturday night, when there is a big night happening at the theater, and because she likes work up on the wall.  She and others will install the new show Sunday to Tuesday.  Okay, that saves me from having to ask about that today.  

Shut down the computer and later headed up to Ocean Grove.  With me was a disc from my old studio collection, Beat This!, which is a best of album of music by the English Beat, chosen because I heard a song of theirs on the radio a few days ago.  I wrote about this back in January of 2023 if you want to know more.  Also with me were labels for the framed works in the upcoming show, some clear tape, and a bunch of sketches for the current boardwalk print.  Had plans as well for when I got there.  On the way up I saw that a lot of route 35 south was blocked by a police stop of a large truck.  Hoped that would be gone by the time I was heading home on that road.  

Got to my Studio and the first thing I did there was take care of the frame labels.  All printed, so just cut and tape.  Just took a few minutes.  Results below:

Next was to make sure there would be someone to receive them.  I walked to the main office just carrying one framed piece, the largest one.  I couldn't carry safely all three, and I wanted to make sure someone would be there.  Jeanne was there, and decided she would take the framed prints then, since I couldn't promise I would be there on Sunday, and I can't.  She seemed to really enjoy that first one, Traveling Riverside Blues, but I don't know if she liked the lyric, the image, or both.  (I can only take credit for the image) So I went back to my space and got the other two.  Gets them out of my Studio.  And I told her she was welcome to keep the ones currently up for a few more days.  She claims that a lot of people will be coming on Saturday night and it will be good publicity, but I'm okay wit anything that keeps them out of my basement for another week.  

With that done, time for some new art.  I cleared my table and got out the boardwalk block.  Over the weekend I had done some sketches on paper from the computer.  From photos I took and posted to the internet a long time ago I copied the plants near Convention Hall, and a model in a bathing suit, who seems to be applying sunscreen to her leg.  The latter was originally from a drawing session probably in 2009 (for the then upcoming Miniature Golf themed boardwalk print) and I finally get to use it for this print now.  From the internet I had sketches of people on Asbury beaches, little tiny sketches suitable for deep background in the image.  I added all of these items to my block drawing, the last few things I needed.  I will continue the cutting of that block next week. The sketches on the block can be seen below:

In the lower drawing, my girl applying lotion is the bent over figure on the far right, between the rails.  I decided that was enough work for the day, and headed home.  Luckily, whatever was going on earlier on route 35 was long gone, so I got home quickly and without incident. 

Frame Shop is Open Again

 I have kept up with my schedule, and the next Residents Show will be opening in about a week and a half. I will have prints in the show, because I finished the third print last week, and framed them all today.  I'm showing the latest three prints in my Robert Johnson series, and since all the prints are supposed to be the same size, all the window mats and frames should be the same size.  As a result, last year's frames should be fine for this year.  Time to put that to the test.

I did bring some discs with me from home, which are the discs I had in the Studio in the past, so it's all the same.  Started with the live album I have from the Dream Syndicate, written about back in April of 2020 if you want to know more.  Also brought with me was linen tape, which I would need to make hinges to mount the prints.  Everything else was there in the Studio.  For example, the old frames (still full) were there, my scissors, and a small flat screwdriver just the right size for loosening the screws that allowed me to open each frame.  

First step was pulling out the actual prints to be framed, on my wall, or in my rack.  Next was trimming those that needed it, and using pencil to put titles, edition numbers (all are #1 of their type), and signatures.  I favor a standard format at the bottom of the sheet, though other options are permitted.  (a few weeks ago I told Nellie that it was okay to sign her new prints on the back, since the image came all the way to the edges of the front, and I wasn't lying- I've seen it done that way) Used my Studio scissors to cut linen tape for the hinges, and attached those to the print, and later the backing board.  I cut a new piece of foam core (from materials stored at the Studio) to put on the very back on one frame- the one I didn't have in that Asbury Park show in August.  Even cleaned the plexiglass before putting everything back together.  The only place I noticed any issue was my one horizontal image with lyrics, which used the same frame that I used for a horizontal image with lyrics last time, but that previous one was made a little longer than requested, and the window was cut accordingly.  I decided that cutting a new window mat would take too much time today, and just went with the one I had.  It looked fine and would do.

The only thing remaining is to add labels to the back, identifying the works, the artist, etc.  Not specifically asked for, but I always put them on.  However, that requires a computer, back at home, so I'll add those next week.  Won't take long.  And with that, I was done.

The first disc ended, so I went with a shorter one, Henry's Dream by Nick Cave and the Bad Seeds, something I've written about on this blog before.  Eventually I put everything back where it was, just with new prints inside the frames.  I stopped by the office to talk to Jeanne, but later found her in the basement hallway.  I don't know if the office will be open on Monday or not (holiday), but she said Tuesday was fine for delivery.  I also asked about the current show, in which I have three other pieces.  At first she thought I was offering to take down other people's work, until she finally realized I also have work in that show.  I was told many years ago that no one would ever care about my situation as much as I would, so if there was anything art related that I cared about, I should make sure it got done.  I guess I will make sure those works upstairs make their way to me next week.  

Boardwalk Days part 34

 Back to work on the boardwalk today.  I had brought my good tools, and my collection of pop/rock discs. The latter was planned, due to things that happened recently.  Today was destined to be a Pixies sort of day.  First, I saw a reaction video over the weekend to two songs from the Pixies last studio album (in their original incarnation), Trompe Le Monde.  It's probably the album of theirs I have listened to the least, partly because it was the most recent of theirs, and partly because it's probably my least favorite.   Not that  it's a bad album, because it's not, but it does have the feel of their last effort.  Later I learned that one song is actually a remake of one from their original demo, but not released yet.  It's a loud album, but I don't know if that was a producer decision or the band's idea.  Not many biblical references this time, but the UFO thing is still a part of it.  While not my favorite Pixies album, I did feel it was good enough to make a copy to keep in the Studio, which is why I have it now.  Then yesterday Dave sent me the video for the new Kim Deal single.  Kim was the bass player and back up singer (plus an occasional lead) for the Pixies in their original form, but even then she had a side project, The Breeders, who had their first album come out while she still had a few Pixies albums to go.  When her main band broke up in the early 90's, she did the other full time for a while.  I had the early Breeders releases (vinyl and cassette) and put the first 3 on a single disc a while ago, with a copy for the Studio.  I've listened to it from time to time and even wrote about it back in January of 2020 if you want to know more. This new single is credited as a solo project, though it does sound like work she did with the Breeders. 

So today I was continuing work on the current boardwalk print.  I still haven't checked that photo I have of the large plant, so I cut around that today.  However, there is a lot of detail in Convention Hall, so the hour and a half I put in was very busy.  I finished most of that building, and the tall street light on that side. What this tells me is that I need to deal with the two main uncut areas soon- that plant and whatever I am putting on the beach in the other panel.  Meanwhile, what I did today can be seen below:

While there today I checked on all the proofs from last week, and all seem to be absolutely dry.  It looks like they will be safe to sign and frame later this week, so I am on schedule for the upcoming show.

So What Next?

 I have finished the third print in my latest group of Robert Johnson prints.  The big question is whether or not I do any more.  I originally put together a list of several possible songs to adapt, even writing down some of the lyrics, and sketching out some ideas for the art.  Of these songs, I eventually did prints for 5 of them.  (the sixth one I did, Cross Roads Blues, was not on this original list, but so many viewers knew the story of his soul sale at a crossroads at the opening for the first show, that I decided to work out an idea for that song)  I will be showing the next set of three at a show in a few weeks, and the question right now is should I do any more.  In favor of continuing is that I have exhibited or will be exhibiting all of them, and have sold a few of them as well.  In favor of ending things (for now at least- this project has its roots going back 30 years) is that I have done most of the ones I had wanted to do, and I haven't heard anything yet from the organizer of the planned show in Nashville.  

One new thing that happened today is that I watched the latest episode of HBO's "The Penguin" and it closed with a version of a Robert Johnson song.   The song was listed as "Me and the Devil" by Gil Scott Heron on the episode, but instantly I recognized some of words as being from Johnson's song, "Me and the Devil Blues", which would have been first recorded back in the 1930's.   Heron died a few decades ago, so I know it's not recent.  From the comments for a video of the song I found on the web, this version has been used in several shows over the years- I just happened to see this one.  Why I note it here is that this was one of the songs on my original list, but I never came up with a visual that I liked.  I do like some of Heron's music from the 1970's (see this blog) and I have some appreciation for records he made in the 90's, I had not heard this one before.  There was one lyrical change- Heron changed one line from being, "Gonna beat my woman until I am satisfied" to "Gonna see my woman until I am satisfied"  I guess there are some lines that even Gil Scott Heron wouldn't sing.  Doesn't affect me, as that wasn't the line I was going to adapt anyway.  The fact that artists have continued to make their versions of these old songs, and over 300 people decided to leave comments, there is at least some interest out there in these songs.  Maybe I shouldn't be leaving it just yet.

Meanwhile, I have other things to work on.  I can continue to work on the boardwalk print I was trying to finish before I pivoted to this last Johnson piece to get it done for the Tenant show later this month.  And from there, I can continue that series, as I had ideas for a few more that I never got to.  Given some suitable wood, there is no reason I can't draw some more.  One was going to be about the effects of Hurricane Sandy.  That event occurred decades ago, but the damage caused by hurricanes in the south has brought that back into the news lately.  Something to think about.

Short term I have to deal with framing and delivering these Johnson woodcuts, and then I have a boardwalk print that is started and still several weeks away from being finished.  And I may have to put that on hold to do a holiday card in time to be posted here for Christmas Day.  So I don't have to decide anything right away, probably not until 2025.  But today I was thinking about it.

Print Shop

 If nothing else, I do know something about printing.  It's why I was hired to print woodcuts for a show this past summer, and it's how I was declared an essential worker back during the Covid crisis.  Whatever else I know, I do know how to print blocks of wood on paper.  Which is how I found myself in the basement of the Jersey Shore Arts Center today.   We are scheduled to have a show open later this month, and the work for that show to be turned in the week after next.  I plan to use the same frames as last time, and the prints I plan to show are the same size as the previous prints shown, so the mats are already cut to right size.  I finished and cut the last block last week, and printed a good version of it earlier this week, so all that remained was pulling two new proofs of the two other prints planned for this show. 

Which is what brought me there today.  One thing about woodcuts is the printing ink (and I always use oil-based ink which stays open longer and dries a much darker black) takes several days to be fully dry, and it is definitely better for the prints to be completely dry before they are framed.  (I know some things about framing as well, but we'll get to that next week)  So today was the day to print those last two copies I wanted.  That means the proofs will be completely dry by late next week, so I can frame them and they will be ready to submit well before the 14th, which is the day they start accepting work for the show.  I completed the two other prints months ago and even had a successful proof of each if I needed it for the exhibition, but I wanted a better, cleaner proof of each.  Prepared the blocks yesterday while I was there.

This morning I started by preparing paper, which was just tearing a sheet of Rives Lightweight in half to make the two pieces of paper that I needed.  For these last Robert Johnson prints, of course I had blues music, in this case the home burned copy disc I made of Robert Cray's live show broadcast on the radio.  As it played I marveled that this disc still sounded pretty good considering that the show itself was taped back in 1990, which will be 34 years ago later this month.  The radio station that broadcast it has been off the air since last century, but the music is still good.  It was written about on this blog back in October of 2021, and probably many other times as well.

Each block has been printed before, so it went well and there were no surprises.  I got better proofs of each print, and I assume they will be dry in time to frame for the show.  Here's a photo to today's work:

So that step is done now.  Nothing more I can do until the ink dries, and I'll have to wait a few days for that to happen.  So I'll take the weekend off, and be working on something else early next week.

Figure Drawing in October

 For a few days I have been debating whether to go to the drawing group this morning, or to proof the other two blocks for the upcoming show there in our building.  Even this morning I still wasn't sure.  But in the end I chose to do some figure drawing.  I was up in time to do so, and I knew I could print tomorrow and still have it dry in time to frame everything before the first day that they are accepting works.  (I don't know if for sure, but it makes sense to me that work submitted earlier in the week of delivery has a better chance of being hung in a more visible space on the wall) Plus, I knew I could complete a step or two of the pre-printing after I was done drawing, since I had to go down to my space anyway to return some of my materials.  I brought my small sketchbook and pencils, pencil eraser and sharpener, charcoal, and cutting tools, plus my camera to document the completed work.

Got to the room and found the room was pretty empty, only 5 artists including me, so plenty of options for seating and setting up.  New model for me.  Not particularly exciting to draw, but she did fine.  At the request of the artist who usually handles the timing we skipped the 30 second gestures and went right to the one minute gestures.  No complaint from me.  Shortly after we started, a sixth artist showed up, but this didn't affect me.  I used pencil for most of the drawings, only breaking out the charcoal and related materials for the last 34 minute drawing, our longest.  

As is typical, during breaks then model walked around to see the results to what the artists had done.  (some do this still nude, but this one dressed first)  So she saw all I had done.  She had some praise for everything, but her favorite thing, and the only thing she asked to photograph, was the final charcoal drawing, which can be seen below:

On the other hand, my favorite drawing from today's session was this 20 minute pencil drawing done just before the charcoal, and that one is seen here:

After things were done I headed downstairs to my space to document the day's work and to do a little to prepare for tomorrow's printing. I found the two blocks quickly and removed the tape from the one that had a lot of tape on it.  Then I used my cutting tools to clean up all the odd bits that required me to tape over the unwanted ink on that block.  The other block had no tape on it, but I still spent a few minutes cutting some tiny areas that had picked up ink.  Assuming I am careful with the inking, these two proofs will be the cleanest of all proofs taken of these two blocks, and should be suitable for showing. I chose not to prepare paper, as this would have required me to clear off my table, and pull out the box containing clean paper, and I didn't feel like it. That last step can wait until just before I ink the blocks.

Traveling Riverside Blues- Finished

 Went back to the Studio today to try to finish this latest Robert Johnson print.  Of course I brought my blues discs with me, while the altered block and my previously torn paper was already there.  I also brought my cutting tools, just in case I needed them.  I had come up there yesterday to cut more on the block, and I hoped that would be enough, but there was no way to really know without actually printing it.

My hope was to print two copies, one with the lyrics, and one without.  The former would be for the upcoming exhibition there in our building, and this print with lyrics should fit well in the mat I cut for last year's Tenants show, and used again recently in the Asbury Park show, my take on "Love in Vain."  The latter would be to send to Tom as an update on my latest Robert Johnson prints.  I decided to start with the one without lyrics first, as the image had to work there, before I would show it anyway.  And if it worked, I could do the one with the lyrics for the upcoming show, which would be collected the week after next.  

I started by putting on some vintage blues, in this case my home burned copy of two old John Lee Hooker albums moved from vinyl to a disc.  You can read about this disc on this blog back in October of 2021.  Then printing.  I don't know if the practice I had printing Mary's woodcuts for her show in August helped, but this seemed to go well and faster than the other prints done in this series.  Meanwhile, Molly showed up again, to pick up her recent product I guess.  She didn't stay long, saying she was taking things down the street, and she would be back soon.  Meanwhile I continued with my hand printing of the changed block.  (Molly agreed that the female figure in the first proof was too dark, but liked the rest of the image) After I finished printing that second proof I compared the two, and decided that the new version was much better. I also saw improvement with the other areas I had changed, but I knew to look, and none of those were as problematic as the female figure.

Printing the proof took only about an hour or so, so I decided to go ahead and print the next proof, the one with the lyrics.  However, before anything else, I inked up and printed the lyric section on newsprint.  I figured the image was printed once before so I should print the lettering once.  Based on that, I had to trim a few small bits around the lettering, but mostly it was fine.  I had a slightly larger piece of paper prepared already.  The only real difference was that instead of taping over the text, this time I was taping around the text.  Otherwise, inking and printing is the same process. 

The John Lee Hooker disc ended, so I put on a Buddy Guy disc I had made for Texas, which you can read about back in February of 2020 if you want to know more.  Printing this one was also not too difficult.  Probably helped that it had been printed before- first last Friday, then earlier today.  The resulting print also looked acceptable to me.  Below is the version with text, which is likely the one I will frame for the upcoming show:

With those two proofs completed, I decided this print is done.  I still want to pull two new proofs of the other two Johnson prints I plan to show this time, and getting them done later this week means they will be dry in time to frame for the show.  I may print other proofs of this one as well, to have available, but at least I am done with it in time for this exhibition. Molly never came back, so after putting everything back to way it was before I got there, I locked up and left.

Traveling Riverside Blues part 9

 After studying the image of the first proof over the weekend, I had decided what was needed on the block.    I had to work on the standing female figure for sure, make her look a little more human.  The table holding the lamp was a little confusing, and could benefit from a little more cutting.  The bottom of the feet of the male figure in bed bothered me a little, and they could use something.  And the wall- in my hurry to print a proof, a few blobs of ink ended up on the brayer and thus ended up on my block.  I'm not sure if any of them printed (I tried to scrape and blot them away), but a few spots on the wall seemed a little too dark, and that could account for it.  Or it could just be the way I cut the wall- the only way to find out was to see the block itself.  So I grabbed my cutting tools and some blues discs and headed up to Ocean Grove. 

I looked over my block and proof.  The printed proof was dry, which is good to know for when I have to frame things.  The block itself, despite my blotting of the whole thing, was still a little inky.  Lucky, I have a soap that cuts through that ink fairly well.  I pulled up the photo I took of the not yet inked block as a reference.  I got out a mirror and looked at the block, proof, and camera to see if it helped at all.  I found that my pencil didn't show up on the inked wood, so that wouldn't help.  In the end, it was just a bunch of free handing, drawing with tools, so to speak.  Most of the time was spent on the female figure, but it needed the most work.  This is where my camera was most useful, as it showed what I had drawn with pencil on the wood, directly from the model.  I made changes to the face, the hair, and parts of her body, all of which I think helped.  For the male figure, mostly I just looked at the block itself, and recut some bits that seemed to be there, but had filled in with ink.  The wall and table were just handled by looking at the block and clarifying things.  I don't think the blobs of ink affected the wall, but I cut out all reference to those anyway.    Results looked like this:

All that took the duration of my blues radio show disc (which worked today, so go figure, and you can read more about it on July of 2022 if you are interested) and about the time it ended, I was done with my planned cutting.  I won't know for sure if I was successful until I print it, but right now it looks better.  I'll save the printing for another day.  For now, I cleaned up the few shavings of wood on my table, washed all the ink off my hands, put the block back in my rack where it came from, and headed home.

Traveling Riverside Blues part 8

 My original plan was to wait until next week to proof this latest block, but I had no reason to hang around the house today, I wasn't ready to eat lunch, and I had to move my car anyway after the weekly lawn mowing, so I decided to go to the Studio today and pull a print of my new block.  Besides, having a few extra days to look at the results couldn't hurt.  So I left a bit before noon (after the lawn mower showed up) and got up there in the early afternoon.  A lot fewer cars in the lot than yesterday, but I guess that's the difference between a Thursday and a Friday.  I went straight down to my space. I had brought the jazz/blues book of discs today, and selected my Duke Ellington disc, written about back on November of 2022 if you want to know more.  In any case, good music to work to.

The first thing I did was tear some paper down to size.  I knew I had enough Rives Light Weight to do the job, but not the right sizes.  For now I tore one the right size to include the lyrics, and a few half sheets that would hold the image area fine.  That's what I wanted today.  Then I looked at the block itself.  I could see right away that there were some things I could have cut, but didn't, on my standing female figure.  For reference purposes I took a photo of the unlinked block itself, so that no matter what happened, I would know what had been there.  For ink I got out the can we had last used to make Mary's prints for her Asbury show last month.  A little skin had formed under the wax paper, but I cut that off and had plenty of ink to work with.  

Otherwise, it was pretty standard printing, something I have done many times.  As an instrumental version of "Take the A-Train" played, I thought of past times taking the A Train- I knew that the A, C, and E trains  all went north from the Soho area to Penn Station, and any of those would get me back there, each stopping there before heading to different locations, and I know from song lyrics that the A went up to Harlem.  Of course you can think about such things when doing simple tasks like proofing a block.  

As always, I knew that the first proof is always the hardest one, and so I wasn't expecting much.  And I only printed the image area, as I don't need the lyrics for most versions, and this is just an early proof to see how it turned out.  The results can be seen below:

Most of it seems to be about what I wanted.  So far I overall like the light in the room and the effect of the lamp.  I think the male figure in the bed is fine.  I have a lot of issues with that standing female figure.  Too much black right now, so I will have to go back into it and find some lights, and make sure to create some separations between the hair and other shadows.  The face needs cleaning up as well, plus the areas I didn't cut yesterday.  But those are problems for next week.  My experience with this ink last month tells me it should be dry enough to cut by early next week.  Meanwhile, I'll keep studying this image of the first proof, and decide if any other changes need to be made.

Traveling Riverside Blues part 7

 Thanks to a sleep study I was prescribed a few nights ago, I decided it was safest to have speech therapy on a Thursday instead of my usual day, and the only time available was 2:00 pm.  However, that meant I had time to get to the Studio in the morning first to get some more work done on my current block, the latest Robert Johnson piece.  Made sense to listen to some blues while I did it, and I had brought the copy I made of my last radio show (the only disc I currently have that has any Johnson on it), but for some reason it wouldn't start in my box.  Time was limited, so rather than try to resolve that problem (it's happened before and I know this disc works), I just went with a different disc I had there, my live Bob Marley collection, written about back on October of 2021 if you want to know more.  

I knew I could finish the female figure, and thought I would likely finish the wall behind her, and maybe I would have time to do the floor.  As it was, I got to all three in the allotted time.  Results can be seen below:

So far I like what I see, but I won't really know what I have until I roll some ink on this block, and that will have to wait until next week.  At this point I think I have done everything I can do with it other than print it and see what it looks like.  Once I do that, I can decide it it is cut enough, or needs more to make the drawing more clear, or the value balance better. If it is good, or needs very little change, I can go ahead and print a show-worthy proof, and still have plenty of time for it to dry before I need to frame it for the upcoming show.  

Traveling Riverside Blues part 6

 I figure about 3 weeks until the next set of prints has to be delivered framed and ready to install, which means I have to finish the block on that last one soon.  That meant a day in the Studio today.  Well, I can think of worse ways to spend my time.  I had discovered a few loose discs already in my bag, so I grabbed my roll of good tools and eventually left.  Had to wait until late to take care of some business involving an upcoming sleep study, but that seems resolved now.  

First thing I wanted to do was talk to Jeanne and make sure she had received the email I sent last week, with all the info for the show next month, but she wasn't in.  Instead there was a meeting of elderly women (volunteers?) going on the office, so I got out of there quickly and over to my space.  I continued working on the latest Robert Johnson print.  I knew from last time that I wanted to continue working on the male figure in the bed, then move on to the area of wall behind and next to the small table lamp.  For music I decided to put on the copy of the albums from Hans Rotenberry/Brad Jones and Alejandro Escovedo that by friend Doug made for me several years ago (written about in June of 2022 if you want to know more).  

It was during the first album that I heard something going on in the hall outside my space.  A lot of noise, but the door didn't open.  Sweeping maybe?  But then the door finally opened, and it was Molly.  I didn't have as much to update her on this time, though I did get confirmation that she got my email last week regarding making a t-shirt for Nellie.  Still not sure if she's going to do it, but she did say that she would definitely contact her.  After that I left her alone and she got to work on her towels, adding another layer of color.  

Meanwhile, I kept working on my current block.  The first album ended, but the disc continued into the second album Doug put on there.  My block went according to plan- first the bed and the guy there, then the large corner- both sides.  Results of today's cutting can be seen below:

Molly had finished what she planned for today (she said she hoped to do more, but had run into people earlier and lost most of her morning), and decided to take off.  I continued work on my block as planned.  By this time I had finished all the bed area, and was working on the walls, following my sketched plans for the area.  The cd finished, then shortly later I did.  I decided that was enough for today and cleaned up.  However, before leaving the building I stopped by the office again and this time found Jeanne.  She verified that she got my email last week, which contained all the requested information, one of only a few who had replied to the note.  Well, the day is not over yet, so maybe she will get a bunch more.  If not, she can put out another request, but my part is done for now.  I do have a lot more to do before then, but the other stuff isn't due for a few weeks.   I won't really know what I have until I print this thing, but so far it's turning out as expected, and I'm more than halfway done.

Traveling Riverside Blues part 5

 When drawing was done, I went downstairs to my Studio and Nellie met me down there shortly afterwards.  This was planned, as she has an opportunity to show some prints soon and wanted me to supervise and advise her printing some old blocks.  These were linoleum, but relief is relief, and that is one thing I know well.  She had taken my class in woodcut a few years back, and so printing should not be a problem for her- we cover it, and she had done some prints since.  However, she said she felt more comfortable having me present to talk to her and advise her.  

So even before figure drawing, I had cleared the part of my table that I used, to make some room, and while I waited for her to get there, I put away some drawing stuff.  She had a box full of tubes of ink, tools, and such, but had left the plate at home, so she took the quick ride home to get it.  (I didn't want to take up Molly's space, in case she suddenly showed up to do something) When Nellie returned, I looked at the plate and all her materials, and gave her some advice.  She asked if she could try some printing there in the space, to get some confidence, and I okayed it.  She did a first black (water based in) proof, but I knew the ink was too light, and she decided to do more.  After printing two more black ones with more ink she realized the problem, but I advised her to save the first proof for experimentations with coloring.  She washed up everything in the sink, and cleaned the black ink off my palette.   With wood I would blot the block instead of washing, but I figured the water and sink would work fine for linoleum, and it did.  Later she also printed versions of her GG Allin block in both blue ink and red ink.  Here is her in action:

She started printing with a wooden drawer pull, but decided she liked my wooden spoon best.  She also  used my metal ruler to measure her paper and tear it down to size.  She decided to make the paper the same size as the block, to print to the edge.  It's not what I usually do, but it is perfectly acceptable in printmaking.  She liked all her proofs and feels good about showing them.  What they are for is an Asbury Park Punk Rock Flea Market, which was held in our building in Ocean Grove last year.  For all I know we will also have it in our building again, but I haven't heard anything yet.

Meanwhile, I am not one to waste an opportunity, and was working on cutting my latest block on another part of the table.  I didn't cut as much as I might on a day there by myself, with Nellie hitting me with a lot of printmaking related questions, but I think I'm fine on time here.   I need to let the office know soon I will be part of the show, but it will be more than three weeks before they need the actual work.  What I worked on today was the lamp/table and some of the male figure in bed.  It can be seen below:

I probably won't be there tomorrow, but maybe I'll send them an email about the show, and confirm things next week when I'll be back in.

3rd Time Around

 Last week Joe mentioned during the figure group that Vivi would be back for the next meeting.  He mentioned this to me as this was the model he hooked me up with (at my request) to pose in my Studio for a group of prints I was working on.  This was back in July, and while I have worked on all those blocks, none are finished yet.  But I know she is good to draw, having done it twice so far, so I decided I would go this week for my 2nd and last time this month.  

Otherwise it was like any other drawing group. Got my stuff from my basement space, and took a spare space in the classroom.  More artists than last time, but I still found room.  My former student Nellie was back, as I expected.  The model was a little late, but she showed, and got right into a backwards arched back hand and feet pose- probably right out of the yoga she likes to do.  It was only a 30 second gesture, so I figured she could handle it, and did.  A few other times during the gestures she took poses on only 2 or 3 feet and hands, and almost lost her balance.  The rest of her poses were more stable.  Later on she took longer ones, and the last one was about 25 minutes and I broke out the charcoal for the occasion.   Some of my pencil drawings weren't bad, but this one was my best:

Nellie also liked the drawing.   In general she liked working with this model, who was younger than what she was used to in college classes.  She was also impressed with the yoga style poses the model opened with.  The model did recognize me and greeted me, so I went downstairs and got the blocks she posed for.  Not yet done of course, but she said she liked them, and was happy to see I was continuing to work on them.  It's entirely possible she was just being nice to get more work, but I will choose to believe she liked what she saw.  In any case, this third time working with her was a good day for me.

Bugs Bunny and Art

 I've mentioned before in various artist statements how I believe that 40's and 50's animation from Warner Brothers was a big influence on my art.  I still believe that.  That era is marked by the start of regular color use in cartoons, plus a lot of references to World War II.  But the artists of this time were well schooled in proper drawing and painting techniques, and that includes animated cartoons.  I recently had an email exchange with one of my college friends, where I made the point that Italian Futurists (an early 20th century movement) rejected much of what had been figured out by local artists before and during the Renaissance, but I know from experience that it's hard to escape from that all that history in Italy, and that it affected all art that followed, including animated cartoons.  And the art that came after that as well.  

For example, I do woodcuts, and my two biggest influences there are northern European art, both the early woodcuts of the renaissance and the 20th century expressionists, and the Japanese woodcuts of the 18th and 19th centuries, but due to being an art major, I have had plenty of art history, everything from the stone age to the end of the 20th century (art history textbooks, slide libraries, and my college education all ended there), and have taught art history at the college level a bunch of times- relating to both visual arts and as a subject in itself.  I once had a student in one of the latter classes remark how much the art history overlapped with her class in world culture.  My response to such things is that you can't understand art history without also knowing scientific history, political history, religious history, and military history as they are all related.  I stand by that.

The reason I thought of this today is that I decided to stay home today and to watch and delete stuff I had on the DVR, taking advantage of my parents not being home.  One of those things I watched was some Bugs Bunny recorded over the weekend, including a classic early 1946 short Baseball Bugs.  Like most of the WB cartoons of that era, backgrounds are painted simply, sometimes seeming not to be finished, as we are meant to be concentrating on the main characters.  This was not unique to mid 20th century animation,  but can be found in the optical mixing of Velazquez, Impressionist painting, the woodcuts of Frans Masereel (who was a newspaper cartoonist and illustrator facing frequent immediate deadlines before he took up woodcut), and probably other things I am familiar with.  But I know it best from Bugs Bunny, and that is where I took ideas from.

In the above image, I know I turned to a Bugs Bunny cartoon for artistic guidance.  The narrative came from a book, Butler's Lives of the Saints, and the date from the person who commissioned it, and some of the art from other sources, including me.  And the composition is mine.  But some of it came from cartoons, such as the vague shape of the people in the audience, and the colors came from a circus themed Bugs Bunny short.  Good ideas are good ideas, no matter where they come from.