I really enjoy Megan Duncanson's work and feel that it relates to my own personal work by means of the subject matter and use of bright, vibrant colors. I have used subject matter consisting of buildings, cityscapes, trees, nature, and other comparable imagery within my own work on numerous occasions and I always begin my pieces with bold black lines to create the image and color to accentuate and bring it to life.
Reneed Johnson relates to my work by means of using bright and vibrant colors and the way he organizes his pieces. I have made use of separate grids and panels to make a work more interesting numerous times. I feel as though it gives a more modern feel to any work and can even help the eye to travel around the piece in the manner in which I intended it to be read.
Linda Gaskill is an artist I have been keeping up with for quite some time. Her work is comparable to my own in just about every principle. Her subject matter, use of dark, harsh outlines, rich, vibrant colors, and animated, whimsical styles of drawing are only a few the characteristics that inspire me.
This week I have taken photos of the processes I have been executing in lithography class in order to complete one of my first pieces for the senior show.
To begin the process, we must use a series of powders of various carbide grits including 60, 80, 100, 120, and finally, 220. Starting with the most coarse grit, 60, we take a pair of stones, comparable in size, dampen the first with water and pour the appropriate grit on top. You then proceed to move the second stone in a figure eight motion over top of the first stone, causing the grit to grind down the top of the stone to smooth out its surface. You repeat this process throughout the series of grits until you get to the finest, 220, which acts as a polishing grit, ultimately prepping the surface to draw on.
Once your surface is prepped and polished, you must wash all remaining carbide grit from it and paint a border with a gum like chemical, which seals your edges in order to achieve a clean, precise border around your image.
Once I rendered my image in my sketchbook, I then used a light table to transfer it onto a piece of tracing paper.
The finished product is as you see here, ready for transfer onto my stone.
In order to transfer my image onto my stone, I had to tape the tracing paper to the stone with a piece of paper covered in a thick layer of colored sanguine conte crayon laid face down underneath of it. I then had to retrace over my image so that the sanguine conte crayon would transfer the image onto the stone.
With a consistent amount of pressure, a hard tipped carbon pencil, and a thick layer of conte crayon, my image transferred successfully and is as seen here.
Finally, once the image is completely transferred, I removed the sanguine sketch paper and tracing paper and retraced my image once more, directly onto the surface of the stone with number 4 and 5 grease lithography pencils. This is the current stage my piece is in. It is now ready for some light shading and detail with the grease pencils and eventual printing on the press.
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