Studio Work: Printmaking

Just as I suspected, printmaking is SO MUCH FUN!!!

Professor John Stewart, the same talented guy who taught Advanced Figure Drawing last quarter, is teaching Intro to Relief Printmaking this quarter. I am officially a big fan of J-Stew. It's mutual- the other day he confided that he liked me because I'm "a grown-up." Ha- that's what he thinks!

Project 1a: Pink Kiss, 5" x  8"

Project 1b: Ugly Me, 8" x 5"

PROJECT ONE: Self-portrait (again???) 
Having more than enough self-portraits, I decided to do a kiss-portrait instead. I donned lipstick, kissed paper, scanned it and enlarged it, and traced it onto a linoleum block.
I was totally happy with the results, but I finished early (what a STRANGE feeling!) so I decided to be an over-achiever and do another one. For Ugly Me, I was inspired by a conversation I had with John. We talked about how because we are used to seeing mirror images of ourselves, our own faces can look really strange in photos. I decided to do a self-portrait in which I exaggerated all of my asymmetry. The result was a pretty accurate depiction of me before my morning coffee.

PROJECT TWO: Shape and Shadow
The challenge here was to show volume and form with black and white only. This can be tricky, as I learned last quarter in Comics class. But with printmaking, it's more difficult because positive and negative space are reversed- you don't draw in the black, you carve out the white! I drew a larger-than-life ice cream cone, and threw in a dark shadow for some drama. We also had to complete an edition of three identical prints.

Project 2: Big Scoop, 14" x 10"

This image shows the inked block next to some prints.

The one on the upper left is known as the "Artist's Proof." It is not included in the edition because the registration is slightly off and I carved a few minor adjustments before the next print.

John expects the very best prints on perfectly clean, handmade Japanese paper. The registration should be perfectly straight, with symmetrical borders (a little extra on the bottom margin for a signature). The ink should be applied just right- just enough for solid coverage, but not too much! It takes forever for the oil ink to dry on the cotton paper.

PROJECT THREE: Stay Tuned!
For our next assignment, we will be doing double color prints, using the press, and pulling a larger edition. Fun!
 If anyone has any ideas for subject matter, let me know!

It's just what I do

My last post was about John Stewart, who teaches my figure drawing class. This class keeps me sane- for about six hours per week. I sit still, pop in my headphones, and just DRAW. There have been days when I might have skipped class in order to catch up on work in other courses, but I just can't- I love it too much. I don't always love the result, but the process is... I don't know... sublime.

I don't typically decapitate the models. I was just most interested in hands and feet that day. John Stewart said the hands remind him of "bunches of bananas" and to avoid that in the future. He's right, unfortunately. This is graphite and white chalk on gray paper, with touches of black charcoal.

I did this one the first day of class. I think it's my favorite, because it reminds me of Ingres. I felt unsure of myself, out of practice, but it works with the sensitivity of the model's pose. Graphite on white paper: my favorite medium for figure drawing.

I love this model's dramatic poses. And he never moves a muscle!

Next post I will include some color work. I do love my graphite on white paper, but I love color too.

Artist and Professor John Stewart

I am lucky to be a student in John Stewart's Figure Drawing class this quarter. I am also lucky that he allowed me and fellow classmate Kelsey to interview him today. He has lots of interesting stories.

John Stewart, artist and professor

He's been a member of UC's faculty since "a week before they discovered dirt," in other words, almost 38 years. He's a world traveler, spending much of his childhood in military bases in Japan and Germany. He backpacked through Europe when he was young. Shortly after arriving in Paris, he was walking through a museum when he saw The Lacemaker by Vermeer.

Tiny, perfect: The Lacemaker by Vermeer

He says he got goosebumps and chills when he saw it, and it still does to this day (he showed me the goosebumps on his arm as proof!). Up until that moment, he had been a printmaker and sculptor and was not all that impressed with painting. Vermeer changed his mind. He spent the rest of his European vacation tracking down as many Vermeer originals as he could, and saw nearly all of them.

When I asked him if he had any other major influences in his work as an artist, he didn't hesitate for a second to mention Caroll Spinney, puppeteer and creator of Oscar the Grouch (my favorite!) and Big Bird. Before his Sesame Street days, Spinney worked as a cartoonist for a paper on the military base where Stewart lived as a teenager in Germany. He made a huge impression because he was having fun at his job, which was, needless to say, RARE on a military base in Germany. John says he ways always fascinated with the visual world and artistically inclined, but it took the creator of Big Bird to make him realize that being an artist was a possibility.

Carroll Spinney with his most famous creations

Today John Stewart teaches life drawing and painting at the University of Cincinnati. His own current work features oil paintings of landscapes and the human figure.