Did these a month or 2 ago for Cannonball Press. Fun, fun, fun.
Check out their site—they have the most awesome prints.
You can get any of their 18×24″ prints for only $20!!!! Seriously. Check it out.
Cannonball Press rocks.
Opening reception Saturday, March 16, 7-10pm.
Showing with my friend and fellow artist Alicia Rheal in our From Farm to Fork (to Fabulous!) exhibit. The opening reception is a gala celebration and benefit for the Walls of Wittenberg. More info, and the poster, below. Highlight? Why Nueske’s Applewood Smoked Meats of course.
The WowSpace is located at 114 Vinal St – Wittenberg, WI. Easy to find…Just look for the 8ft hanging hog carcasses and the giant pull-toy pig (cuts) in the front windows along the main street of downtown Wittenberg!
And here’s more info about the Walls of Wittenberg ongoing mural project.
One section of the wall installed for now….
Graze Restaurant asked me to paint a cow for them. Here’s the progression (click any cow to enlarge), most recent progress at top.
If you want to read this from the beginning, starting with the delivery of the cow, just start reading at the bottom of this post and scroll up….
Wanted to get this uploaded before 2013, so here you go:
What a nightmare this has been. Should be easy-squeezy, but with the other deadlines in October/November…. Oh well. Working away on side two now–getting there! Here’s side one, pretty much finished (below):
Some info from an earlier post:
Graze restaurant has commissioned me to paint a cow for their patio.
The design will be a holstein (modeled after one of the dairy cows milked at Sassy Cow Creamery, where Graze gets much of their dairy products). Incorporated onto the black/white holstein pattern, will be painted the specific, locally sourced products–produce, Highland beef, trout, etc (that Graze buys from local farmers in the area)–from which Executive Chef Tory Miller and the Graze team create the dishes on their menu.
It just arrived today…
Yep, it’s a girl!
Dexter did it again. Pose that is.
Another folio exchange, this one with the theme “Circus, Circus” so of course I had to do this little circus dog, and then modeled it after old circus posters somewhat. Circus World in Baraboo (and those fantastic old posters) remains an inspiration to me, since childhood. I got over my fear of clowns doing this one–looking at just tons of old clown photos till they didn’t look scary anymore–yeah! Happy day!! I think this clown still looks somewhat ominous, but it had to be dark and simply-rendered to show off my little star in the foreground.
The photo shoot was pretty funny–Dexter did a lot of “dancing” for cheese…. I bet he thought he’d died and gone to heaven.
The Amazing Dancing Dog
- Reduction woodcut on Arches cover
- 23in x 8 1/2in
This was for sale at Artisan Gallery, but it (along with other ones I took for the Small Works show earlier this month) sold rather quickly. I will frame up another at some point soon, and get it to Artisan, but have to get that cow finished first!
NOTE: No animals were harmed in the posing/making of this print. Spoiled, yes; hurt, no.
Weekend Schedule for Sue:
Friday: Cutting 2 new blocks. Printing a new (Dexter) tee by end of day.
Saturday: Cutting and printing 2 new reduction relief blocks.
Sunday: 1st of 2 blocks should be nearing completion.
5 new card designs
Both hard and soft cover versions of CLUCK: From Jungle Fowl to City Chicks is also available.
Now in it’s 5th year, the Spring Art Tour features 21 artists who will open their studios to the public for 3 days in June. This year the open studio event is June 10, 11, 12 (Friday, Saturday, Sunday), 10-5 daily.
He made it into the Eyeworthy feature of The Wisconsin State Journal.
As the big blocks and prints multiply, the dogs seem to be growing smaller.
A new block–that big guy on the right. Going to try to get it done within 1 week’s time–kind of need to. Wish me luck
(Hanging on the left is one of the finished carcasses, just completed this weekend. This is one of a group that will be in an installation at the “From Pattern to Processing” show opening reception May 7th)
This is one way to carve an 8ft tall birch plywood block (at right).
Why a red block?
If you’ll notice, around the perimeter of the rooster’s head, you can see the bare wood showing through–that’s where I’ve cut. If I don’t color the block beforehand, I have a hard time seeing clearly where I’ve cut.
1.) Draw image onto 4x8ft birch plywood block with brush and waterproof drawing ink. Let dry thoroughly.
2.) Mix up a thin wash of acrylic (any color you want that’s transparent and obviously not wood color nor black) and water, and brush lightly over the whole board. Let dry thoroughly.
3.) Coat entire board with thin layer of shellac. This coats the board, sealing it somewhat, which will make the cuts sharper/cleaner and will keep the ink from soaking into the wood too much when it’s time to ink and print the block.
Continuing on, a couple days after printing the carcasses….
…the prints were left to hang for a couple of days for the ink (oil-based) to dry, then the prints were cut out with scissors. After that, I prepared these pink insulation foam shapes cut from 4ft x 8ft sheets. I cut the shapes out with a small, hand-held, electric jigsaw, then lightly sanded the edges, so there were no sharp-looking corners/edges. Then, 3 coats of white primer, so the pink won’t show through the print (masa is a very thin paper and the pink would show through the paper without the white base beneath it).
What fun! It’s done!! Now, I just have to do print/assemble three more.
See them all together in an installation at the May 7th “From Pattern to Processing” show (and after that, I’ll post to the blog).
Block is done! I printed the first two prints today (you can see where the red ink was rolled off the edges), and boy do they take a long time when you’re printing with a wooden spoon!!! I’m not very good at it–patience sorely lacking….
You can see the prints below. In the 2nd photo, the first print is on the left, and though it’s probably not obvious here, it IS fainter for various reasons: It’s the first print (ink soaks up into the woodblock somewhat with that first layer of ink rolled on), I’m inexperienced with printing this way, and I used the rough side of the Masa paper (thinking the print would stick more to the block and perhaps slip less). Since I’m printing these vertically, I was worried about the paper slipping/moving while I’m rubbing/printing the block, so I used a more porous side of the paper to print on, means the ink soaks into the paper more on this side.
The 2nd one came out much darker–thick blacks and full red–as it had a thicker layer of ink rolled on, I used the smooth side of the masa (no slippage–ink is sticky enough to hold onto the paper even with this vertical setup), and I paid more attention to how I was printing/pressing/rubbing the spoon over the raised parts…. Still, I can see this takes practice, and I don’t love printing this way, but it gets the job done when the block is too big for the press (which is “only” 30in x 40in–plenty big for most jobs).
You can see the first stages of working on this block at: Cutting up meat.
More to come when prints get cut out and applied to forms….
8ft x 4ft piece of birch plywood. Carving mostly with reciprocating carver plus some hand gouges.
Starting to cut:
After a few days worth of cutting, almost done: