I’ve finally completed the block prints I’ll be sending to the miniature print show in Vancouver, Canada. Two of the three I showed in Proofs and the Past have either changed or been eliminated. The blue print called Dreamscape is the one that remains. Here it is printed on Japanese paper:

The print I thought of as a skull or mask changed when I experimented with repeating  it and liked it better than the original.  Here it is also on Japanese paper:

And I eliminated a tiny third one I had quite liked but felt it didn’t quite hold up. Instead, I carved a simple design in a lino substitute taken from a painting I did a couple of months ago. Just at the point where I had pushed the carving to where my back was starting to hurt, I stopped. The next day, though I had doubts about the outcome, I thought I might as well take a proof of the block.  I liked the results. Here’s photos of the block in progress and the single print.

I continued experimenting and liked the effect of printing the block upside down on itself. This led me to try ten different versions. Here’s nine of them:

And here’s the tenth version that I’ve decided to send in. It’s printed red first with yellow on top, which I only thought to do after trying several the other way round with the light layer first. This was all a lot of work, but very intriguing in that sometimes I had no idea what the outcome might be. That’s where the fun comes in.


Over the past few weeks, I’ve been making rough proofs–trial prints–of several linoleum and soft linoleum blocks to see which, if any, I will enter into an international miniature juried print exhibition.  In these, I’m working on design elements mainly.  I printed the blocks on newsprint paper, taped them to bookcases to view and tried various combinations of overprinting and colour.  It was an enjoyable exercise. The ones in the photos are not the prints I’ll be entering, but were an important part of the process of choosing where to go next. I’ve picked three prints that I’ll now experiment printing with different colours and on different papers until I get the ones I’m happiest with.  I’ll show you these later on.

I’m also about to launch into some further paintings on the chambers of the heart theme.




Last week, while I was home with a cold, I began experimenting with an old water soluble crayon set I have. I find painting/drawing on an easel a lot easier physically than printmaking with the pain of repetitive strain I’ve acquired from lino and woodcutting. So, I’ll return to the latest print after a break.

For the drawing below, all I started with was a desire to draw a human profile. The rest developed from there. I mostly used the crayons dry and combined some pigment markers with them. The drawing has a controlled feeling to me because of the outlines throughout. I was interested in experimenting with layers of colour and texture. At times when I was unhappy with the results and redid them, I managed not to destroy the image in an attack of self-criticism. I find making artwork is a dance between creation and destruction. There’s a line between honestly facing mistakes and shredding myself for making them. Now that the piece is finished, I think I’ll try making further works using this drawing as a starting point. I want to practice a looser look, perhaps bringing out the watercolour properties of the crayons. As for the content, for me it reflects some of the different voices or faces within a person, coupled with strange sci-fi or unconscious looking elements.

The next experiment I did pretty quickly, as a reaction to the first one. I cut up part of an earlier crayon watercolour and adhered it to a sheet that I loosely marked in black. I like the feel of this one. There’s the contrast between black, white and colour. And there’s the contrast of the controlled edges of the cut outs with the loose scribbles of both the black crayon and the colours within the shapes themselves. Perhaps this collage technique is one I can develop. It could stand alone or be part of larger works.


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