Prints: Putting Down Colors


French Vanilla coming right up.

Working on multiple print editions at once has its benefits, but right now I’m just seeing the costs. Mix, pull, rinse, repeat. Though there are lots of pretty colors to look at and good jazz to listen to, so I really shouldn’t complain. Jazz is a great soundtrack for printing. Always has been for me. Right now I have Art Blakey and Stan Getz duking it out for time on the hi-fi. And Miles Davis’ Kind of Blue is always great for an early morning session.

But, ahem, back to the matter at hand. When screenprinting with multiple colors, there’s no immediate reward. The artwork you labored over just looks like a jumbled bunch of color fields. That is until the final color is pulled. It’s only at that moment when everything comes into focus and all the pieces fit. It is a pretty glorious moment. And it really does make it all worthwhile. It just takes so long to get there sometimes.

Print: Untitled

I finished up another edition over the weekend. This time I wanted to try printing white ink on a colored sheet. The ink went down smoothly and crisply to my delight.

I’ve updated my documentation style by photographing the prints in a frame to offer a bit of context and a better sense of scale.

Available at Etsy:
Untitled (Chevron) 

Print: Untitled II

The new print is complete! The magenta turned out really nice. It just pops off the sheet with vibrancy. I think I’ll put this design to bed now, though I may do a very different third version before I do. Odd numbers do seem to work best. We’ll see.