"Auto Mono" Print Tests

My "Auto Mono" prints:

This has been something that has made me curious for a while. So, after making a group of linoleum cuts with some rhombus shaped concepts, this seemed like a good time to try and make a way to print at home without a press.

After a bunch of conceptual drawings of how this could work, and then some searches through my garage for scraps of wood that could be utilized, I made a small "print-set-up" template. The important aspects of this design are the sizes of the wooden base, the cross pieces and their placement to allow a type of "ramp" up to height. Then the top board, which registers with the outer cross boards so it won't shift. By not shifting it allows the direct downward-printing action. I did not expect to have a ton of success with the foam that I found, but the cushioning seemed to be enough to really help the transition of the tire across the printed surface.

This is built to work with an 11x17 dry sheet of paper using an inked linoleum cut. I tried soaking some of the paper, but it seemed to be to fragile, since I wasn't using my best printing paper for these initial tests. The setup worked in one pass, but I also experimented with two passes (by slowly driving the front of the car over forward and backward) without noticing a big difference in the print quality.

1x12 plank, 2x2 redwood scrap, 1x2 fir scrap.
A layer of mat board with acetate for registration.
place linocut and paper, then put another layer of
mat board, then the foam, then the top 1x12
 to fit it all together.

The bottom board allows the tire to be completely
on the top, and then each cross bar allows a 1/2" step up
to the next level. Once the tire is over the highest
part, the weight drops down to print the image.

This printed piece will work in an 11x14" frame.

Contrasting grid and growth rings concept

Graphic dot pattern with organic concept

Graphic dots and growth rings contrast.

Sanctification idea.

Some discussions about the “environmental” overtones with the trees and cut trees that I was working on sparked some conversations about sanctification. In regards to the trees that had been culled and the intended purpose for the tree once it was selected. God selects us to be more than we would be on our own. The tree died to become something more. To serve a higher purpose. I like the idea that man is here to cultivate the earth. To take what has been given to us and manage it, steward it well.

I am for conservation and preservation of our world's natural resources. So much more important to me is about the act of not wasting resources that we already have. More importantly to use our resources in an efficient and thorough way by farming, planting and maximizing the natural resources in a healthy way. I believe this is important for the continuation of what God had in store before the fall. Now as restored beings we have the ability to get back “closer” to God's plan for us.

These drawings are touching on something that I feel is worth exploring by focusing on how a resource is better used by creating an order to manage and maximize the potential. These sketches are somewhat humorous or light-hearted, but possibly the intent is clearer to a viewer. Clearer in that they don't allude to conservation but address the idea of “one thing being turned into another thing” or, sanctification. A concept strengthened by connecting the tree and the intended purpose of the tree and showing the tree's future. Not just a cut off tree with no future and apparently a wasted “life” but a timeline of the life of a tree.

This also will be addressed in my experiments with tree growth rings (more to come in that direction).

Linoleum cut project

My linocut setup at my desk.

This process of a linoleum cut project is in the works too. I will have approximately 9 linocuts to experiment with some color and layering of textures. I am setting up a fun little project of printing these by driving over a rigged up “press” for under the tires of my car.

I have some patterns that are solely based on primary patterns used in my design work, set against a very hand-made aesthetic

making a dot pattern similar to those used in offset printing 

A grouping in no particular order

detail of a few of the patterns. displaying primary patterns
and one that is a bit more organic in nature.

I will do some different combinations of
primary patterns vs. organic patterns

Ceramic Rhombus set in progress

After seeing some hexagon and rhombus shaped Islamic tiles at LACMA I really felt compelled to experiment a bit with how I may approach the matter. Where the applied arts and the fine arts cross paths is a place where I am curious about what can happen there. Since I have been so immersed in design over the years and my “fine art” has been separate for so long it inspires me to begin to merge these two worlds of mine.

Egypt or Syria, early 15th century

Architecture; Architectural Elements

Fritware, underglaze painted

I have some access to clay and kilns so this will be a natural potential area for experimentation. The hexagon shape is produced by the 3 rhombi together. The resulting tessellation of the simple geometry offers me a grid-like connectivity that is different than anything I have worked with before.

The rhombus shapes that I spent some time with at the museum were not listed on their site, but the surface of those particular shapes inspired me to make this batch with an “apparent age” of distressed looking surface. This stage of the project does not show the look that I am shooting for, but will be that way once glazed and fired. This group is currently drying and waiting for the bisque fire. Probably on Friday or Saturday. Hopefully I can have a bit more of the process completed by Monday’s meeting.

The motifs that keep going through my sketches are becoming important as I spend more time considering their origins in my process. I am working on approximately 12 rhombus and equilateral triangles here.

Some considerations of my ineptitude with math over the years seem to keep filling this idea that the construction of these shapes, and how they work together has continued to help me to enjoy the process. I see this shape a lot in my web design work in the charts for hexadecimal color that is referenced in html.

The site coding process is another uneasy form of work for me with its technical requirements and the logic that is required (not to mention the semantics involved with correct code) for things to work smoothly. It's the invisible qualities of this type of design that has kept me working towards comfort with all of the different coding languages that need to coexist for a site to stay happy. Otherwise, when things are not working, the only way to find the problem is to revisit the site code. The beautiful experience when the missing colon or semi-colon are discovered and the site works quietly and smoothly — like a fine tuned motor.

Syria, Damascus, about 1600

Architecture; Architectural Elements

Fritware, underglaze-painted

This will utilize some mid-range clay with some mason stains and glaze to get the desired effect that I am looking for.

Our ceramic studio where my carving is under way.

Apple WATCH - what do you think?

First set up experiments with Rhombus + Digital Imagery

With my current trend of working with the rhombus shape and the opportunities it offers in making non-rectilinear grids I have this first layout ready to go to press. This is a 4'x8' piece of plywood that will be printed and then cut out with a digitally controlled router. The imagery I am using is a recent compilation from some photos and drawings I have been experimenting with.

4x8 sheet with some digitized work from my sketchbook & photos.

Once these are printed and cut out I will be able to reconfigure these panels into a composition with other panels of the same size. I expect to have the opportunity to paint on top of the images printed here, as well as painting onto some of the “blank” plywood rhombi to intersperse for a blending effect — which hopefully will blur the lines between digital imagery and hand drawn and painted panels.
There is some potential with the idea of this especially with the decision making that occurs after the process has begun. I expect to see contrast and complimentary imagery to occur when various orders and orientations of the panels are put together.

Back of an Elizabeth Murray painting

Watching an Art:21 — this is the back of an Elizabeth Murray

This is the back of my constructed hexagon piece.

Cohort 9 Post 1

The Day I Arrived Back from the Summer Residency at APU

So, after all of the preparation and planning for my summer residency. I arrived on the campus at APU for a whirlwind experience. From the first minute on campus to the last minute after the hooding ceremony, it was one new experience after another.

Meeting new people and learning about how my work can change was only the beginning of the adventure. Meeting the 9 others in our Cohort 9, and at least a dozen teachers and many other students from the existing cohorts. Now it's time to see how God will work with some new ways to see and think about my work.

This photo is taken right when I got home and unpacked my car. Loaded with art supplies, books and many experimental works that I had conjured up during the previous 3 week residency.