Tag Archives: owl art

hand-printed owls

13 Jan

Screen Shot 2013-01-13 at 11.53.14 AMA couple people added my old wolf etsy treasury to their favorites list this morning, and it made me realize that it’s been a while since I’d curated a little list of cute handmade critters. I have been daydreaming of the printmaking I will do this year, and thus got looking at hand-pulled prints of animals… one thing led to another and before I knew it, I had 10 owl prints open in different tabs. Naturally a treasury was born; to our feathered friend, the owl, and the printmakers who illustrate them.

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feathered flash

17 Sep

As promised, today’s post chronicles my new relief print in further detail! Thanks to everyone for their kind comments yesterday – it’s nice to see a lot of people as excited as I am, to be making relief prints again. As I hinted in my Justice Bicycle Residency post, I had been meticulously carving a barn owl plate for several days back in late August. She inspired me to get back to the medium, so it is her I have to thank for this lovely edition.  In it’s simplest terms, creating a relief plate is just like carving your own rubber stamp. I used lino for my plate, but you can use soft rubber, wood, even erasers! This owl was inspired by my favorite altered book piece from my solo show in July, “flirting with darkness.” I just love the wide wing-span, the gorgeous plumage and the barn owl’s determined, yet calm, demeanor. Using a variety of tools, I slowly carved away at the lino to remove anything I didn’t want to print. In other words, I carve all the areas I want to stay white, and LEAVE all the areas I want black, intact. The image will also print in reverse, so if you are working with text or a directional image, mirroring is critical. Once the plate has been carved it is time to print! I set up a printing station on the edge of my drafting table, and got to work! The beauty of relief print, is that it’s probably the easiest form of printmaking to do at home, as you don’t really require a press or tons of fancy equipment/supplies. All you need is a couple pieces of glass, a rubber brayer, and a rolling pin. I used a water-soluble black block printing ink, but you can experiment with other paints & inks (again, more so than you can with other print techniques). On one glass plate, I use my brayer to roll out a thin block of ink. It is here that you must use the goldilocks theory: Not too much, not too little, just right in the middle. You should be looking for tiny beads of ink. Once your roller is coated, I take it to my plate sitting on a sheet of newprint, and slowly run it across the top surface. Returning to the ink block, and back to the plate, as many times as needed until the surface of the stamp has a good coating. Too much ink will fill small detailed grooves, while too little ink will result in a ghostly looking print with gray instead of black. The relief plate is now transfered to the other sheet of glass which has a registration plate taped underneath it. A registration plate allows me to put my carving down in the right place and line my paper up on top of it, in the EXACT same spot every time. This helps to ensure consistent printing within the edition. Once the paper is registered on top, I use my rolling pin to slowly and evenly distribute pressure over the entire print. This pressure transfers the ink to paper, and voila you have a finished print! I am so proud of this beautiful barn owl! I really think the textures and details came out well, which is something I’ve struggled with before when carving lino. The plumage looks so impressive and his intent focus is also something I admire. If you love the print just as much as me, I’ve finally listed it in my etsy shop, so she is for sale here!!! I’m so happy to have had such a positive experience with the medium after a very long hiatus. I think this boasts a promising future for relief prints in my practice!