I’m looking forward to a new year of new work. The ideas keep pouring out and I can’t wait to get back out to the workshop and begin again. While I wait out the frosty winter months and fight off cabin fever by sketching (and by a few brisk hikes), the down time will offer some time to reflect, catalog and post 2016 work, clean out the studio and perhaps tweak the process a bit. All is not lost.
In the meantime, here’s a peek at our last holiday greeting. This was meant to be a three-color print but ballooned out to five or six color variations once we got into it. Some things don’t turn out the way you expect and it was too much fun trying out some different color combinations on the fly.
Here’s to fresh starts, new chapters, leaves turned and the glorious blank white page that awaits.
Out of the gates and into studio for fall 2016. Subtle, autumnal hues to start the season. Untitled (*). Copper and cream on natural stock. Subtlety. Nuance. Go figure. This could be a first. Interesting new territory. We’ll see if it takes.
“The arrow, one arrow goes one way, the other arrow goes the other way. And these points are saying ‘what do you want from me?’.” Red, magenta and metallic silver on warm gray.
This one came from a quick pencil sketch and a nixed first draft for another job. Blown up, singled out and further finessed, the art fixed up quite nicely in warm earth tones. There’s something simple and satisfying about the symmetry in this one. And it’s signed and dated on the back so you’re free to hang whichever way you choose.
Available now via the shop in an edition of five.
Earlier this season, I found some leftover misprints from my Untitled (Corporate Identity) piece just sort of hanging out there in the workshop. I’d stare at them and they’d glare back. They were clearly waiting for something, but I wasn’t sure just what. After some hemming, hawing and dead ends I decided to circle back around and use one of the original screens from the first edition and just let it roll.
The artwork is so dynamic with its mix of hard edges and curves, that flipping the misprints around and overprinting them made for some compelling compositions and color studies. Even more, the stencil just prints so easily and cleanly that each print comes out like butter. It wasn’t by design, but the position of stencil on screen is absolutely perfect. Printing with it has been a pleasure, never a pain.
Now I don’t ever want to overstay my welcome, so when it came time to print I had to make myself a promise: I absolutely had to destroy the screen once all of the misprints were used. So while you might see some more pieces that incorporate this artwork, know that they all came from this last session.
Bon voyage, buddy boy. You done good.