stopping with eyes wide opentoMake™ Press & Editions

SEEN THROUGH THE VEIL OF THE SOUL

Second matrix for ‘The Island’ edition. Drawing with rubbing crayons and an alcohol tusche.

“If I were called upon to define briefly the word Art, I should call it the reproduction of what the senses perceive in nature, seen through the veil of the soul.”

Paul Cezanne

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Layout in conté crayon and gum arabic
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Painting out non-image areas with gum
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Alcohol tusche
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Rubbing crayon application
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Ready to etch. 12 drop nitric acid etch.
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Etched stone. Gum buff and ready to roll up.

I DO NOT NEED TO EXPLAIN

Work in progress; drawing on the stone and two test proofs posted on the bulletin board in the alleyway. YA) It is even more difficult to reveal yourSelf.


“ … I do not need to show my work, and I do not need to explain it. If the work doesn’t talk to you, just relax. Do any of you have to define yourself? It is very difficult to define yourself. It is even more difficult to reveal yourself.”

Louise Bourgeois | Statement, 1989

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Drawing on the stone; Gum block out, Korns medium rubbing crayon and #3 Korns lithography crayon

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The bulletin board in the alleyway at toMake™

DIFFCULTY IN THE PRESSROOM


“Painting is easy when you don't know how, but very difficult when you do.”

Edgar Degas

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The big stone ‘ALOYS’ is named in honor of Johann Alois Senefelder

Alois Senefelder
Johann Alois Senefelder (6 November 1771 – 26 February 1834), the inventor of stone lithography.

LOOK, AND LOOK AGAIN

‘The Island’ edition, stone lithography matrix #1.


“Look, and look again,
This world is not just a little thrill for the eyes.”

Mary Oliver

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Hansa, Primsrose & Warm (Chrome) Yellows + Litho Varnish #7 and Tint Base. Proof run on newsprint with layout.

IMPOSSIBLE THINGS

"There's no use trying," said Alice; "one can't believe impossible things."
"I dare say you haven't had much practice," said the Queen.
"When I was your age, I always did it for half an hour a day. Why, sometimes I've believed as many as six impossible things before breakfast."

Lewis Carroll

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In the toMake™ pressroom mixing ink

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One can not have too many pencils, ever.

AS THE ROUND EARTH ROLLS

Back on the press, back to the practice and process of making; the Gift of creativity. I say back because it has been a rather challenging and stressful year in this regard. I’ve been unable to give the attention and care to this essential practice in my life. Life had other plans for my attention this year and now I’m in that wonderfully dark night time of year where the stars are bright . . . and here in the intermountain west the nights and mornings invite me out on a cold run in the hills or along the river. Finding a way back to this grand show, this edition arising from the shinning mountains of Glacier-Waterton International Peace Parks . . . and all the beauty of open space that is currently under siege, under development, under disrespect.


This grand show is eternal. It is always sunrise somewhere; the dew is never all dried at once; a shower is forever falling; vapor is ever rising. Eternal sunrise, eternal sunset, eternal dawn and gloaming, on sea and continents and islands, each in its turn, as the round earth rolls”

John Muir | John of the Mountains: The Unpublished Journals of John Muir

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Relief Matrix and Flocking from Generosity & The Way Across | Edition #109

SURROUNDED BY WATER

Starting over, cutting my losses of time and materials . . . but regaining my artistic voice and control of the edition.


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An island or isle is any piece of sub-continental land that is surrounded by water

IN THE SHOP & ON THE PRESS

Emerald Green and some Tint Base . . . but I had to stop the run because the blue ink wasn’t completely dry and was causing some, too much, scumming.

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Edition papers ready for more ink!

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Emerald Green

PRINTING & MAKING


Checking the registration on ‘The Island.’ Editioned the water base in [ Imperial Blue + Litho Varnish #7 + Tint Base + Setswell ].

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I made a relief matrix from cardboard. Gaylord Lake will be printed on the chine-collé in a clear tint base or varnish.

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Proofing the varnish matrix of Gaylord Lake and the island.

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ALLEY LIFE

The edition “The Island” will have a chine-collé with relief matrix over the lithographic layers. I’ve started to draw out the island and Gaylord Lake on the matrix.

The Island copy 4

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Out & About south of the river today Noteworthy Paper and Press has reopened their newly located & renovated gift and print shop and it is wonderful.

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MIXING INK

Mixing ink and trying to make some sense of the world that surrounds, penetrates and encompasses me while editioning one of the three water matrices for ‘The Island’ edition. Imperial Blue + Tint Base + Litho Varnish #7 . . . . each their own spatula inky !

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“Don’t let us forget that the causes of human actions are usually immeasurably more complex and varied than our subsequent explanations of them.”

F. Dostoevsky | The Idiot

IN THE PRESSROOM

I etched another water based toner tusche for the water layer on The Island edition. Then mixed some Emerald Green ink in a couple of transparent ink draws. And lastly finished making two new scraper bars. A beautiful autumn day here in the pressroom, the alley, the valley.

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Plate matrix for ‘The Island’; water layer #3

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Emerald Green with Tint Base for ‘The Island’ forested or base matrix

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Ink draws for ‘The Island’ forested areas matrix

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New 20 and 25 inch scraper bars for lithography

IN THE SHOP TODAY

There really aren’t a lot of events as magical as water; and a lithographic wet tusche is just that, magical and amazing. I spent time mixing inks for the base plate of ‘The Island’ today. Edition of ~16 using 6 aluminum, relief & a photopolymer matrix with chine-collé.

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Process & Progress

I used #4 and #5 Korns crayons to draw the shimenawa on the aluminum plate matrix. I under etched the crayon drawing using just gum but did put TAPEM on the non-image areas. After an initial rollup, hopefully successful, I’ll re-etch the plate with a stronger etch.

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Topology

You might conclude that my “maps” are fictional imaginings or inaccurate by today’s mapping paradigm standards … but this is not at all true. I spend a good amount of time to insure that they are topologically accurate. Not only are they responses to real places where I have stop’d to see and to experience but I also consult other materials both historic and current. In the case of the current edition all the passes that I can identify as supporting human crossings are marked in their respective topologically correct location. The matrix that depicts the shimenawa wrapping of sacred space also indicates a correct topology of the access corridors into and out of the space. It is likely that this is why so few people understand what I am doing when I construct a mapping response to a place. The response is not a typical map in the modern sense of the term. Below is the mylar draft showing the shimenawa and access points. This process of making a response takes time, care, and, I believe, is an original map making (a rejection of modern gis-gps-cartography).


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Shimenawa :: the wrapping of sacred space. Mylar draft for the edition #109 ‘Generosity.’

Sacred Space

I read somewhere that Calder worked every day in his studio. I wish I could say the same. Somedays I suffer such depression it is difficult … everything is difficult. I thought today that I would see the ‘divide litho’ run completed on the ‘Generosity’ print but I was slowed by a scumming plate and I stopped the run to re-etch the open areas. The first print went fine, just the plate scumming during subsequent inking.

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So I proceeded with the layout for my initial idea of a shimenawa; used to indicate a boundary to something sacred, thus there be a sacred space called Glacier-Waterton International Peace Park! This is indicated in a stylized manner on the companion print ‘The Way Across’.

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There are places, like this, that must be wrapped by shimenawa. We are such a selfish species. In her “Memorandum to the Animals” Amy Leach says “If you are concerned about the devastation of your genetic type and you do not see your name on the Keep-Alive List, you might think about clumping some vegetation together into rafts on which to rescue yourselves… Anyway, we need the space for our works and wonders. Many of you are being superannuated because we must give priority to our machinery, our televisions and computers and refrigerators and cars, trucks, airplanes, combination microwave/convection ovens with auto-time zone adjusters. We will still bring a few of you with us, especially those of you with rumps and ribs (please refer to the Keep-Alive List). But we are not going to waste time holloing for the bush babies, waiting for the mayflies to drift in and the kiwis to materialize. We are certainly not going to stand around until the tortoises figure out what’s going on.”

Mixing Ink

I spent some effort today mixing the ink for the continental divides matrix (I transferred the relief print onto a litho plate) on the ‘Generosity’ edition. I had anticipated flocking the wet ink but decided instead to use of stiff black, Graphic Chemical Crayon Black, mixed with Litho Varnish #5 and Hanco Master Palette Fire Red. I’ve got to stop this seemingly endless matrix making. Now I want to add a border to the edition as I am not using the ‘The Way Across’ border on this print. You can see the ink draw on the lower right on the mock-up below.

“It is not down in any map; true places never are.” Herman Melville | Moby Dick

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on the press again

This week I’ve been back in the pressroom working on the changes to the Generosity & The Way Across edition. On wet ink (a soft black on Kozo) gently brush on the flocking pigments then remove from the non-inked areas. Working proof to evaluate the changes to the matrix in the Comeau Pass area.

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