This commission was to create woodcut print from a photo from Ireland. Consisting of 10 layers, it was printed on unbleached Mulberry Thai paper. The editioning had two variables, with two in each variable. There was also an AP.
The woodblock (a deep woodgrain), colors and paper were chosen to reflect the experience of being in that place. It is a place of deep history, memory and solitude.
I’m not going to try and explain this mixing process now but at least say that the ones on the right were to match or modify the ones on the left because I did not mix enough ink initially…
Aligning the stencil
Master sheet for Corcomroe Abbey
The arrows indicate that I need to cut on the outside of the line, rather than the inside.
A progression of layers…
Corcomroe Abbey – layer 1
Corcomroe Abbey – layer 2
Corcomroe Abbey – layer 3
Corcomroe Abbey – layer 4 (Stencil layer for version 1)
Corcomroe Abbey – layer 5
Corcomroe Abbey – layer 6
Corcomroe Abbey – layer 7
Corcomroe Abbey – layer 9 (I forgot to photograph layer 8)
Corcomroe Abbey – layer 10, stenciled layer. The image needed more definition, so I cut a stencil from mylar that would show linework on the stone and a detail on the Celtic cross
This commission was to create a woodcut print of the famous Yosemite Valley. The edition is variable with 7 prints, was printed on Stonehenge White, and consists of 9 layers, the second and last using a stencil. This print’s colors were inspired by the Work Projects Administration (WPA) posters of the National Parks, created between the mids 30s – 40s. A smoother piece of wood was selected to minimize woodgrain, but still providing some texture.