Big Pun, Capital Punishment
I assist classes at the printshop in Manhattan. My duties include gathering class materials, answering technical questions, and cleaning up after the class has finished. Tonight, after completing my tasks adequately for a Japanese Woodblock class, I settled myself in a corner and continued working on my own print which utilized the techniques taught in the workshop. As I was working, a student came to my corner and interrupted my drawing into soft ground to ask if I was paid to assist the instructor today. I put down my number whatever pencil, took out my headphones and spun in my stool to look at her. “No, I am not paid cash.” I said. “Oh, How Come You Get So Much Time To Work?” she asked. I assume she was bothered by my working on my own artwork, so I ignored her intrusion and politely informed her that “Class ended at 4:30, you are here because of the generosity of your instructor.” It was about 5. “You don’t work very hard,” she replied. SO I SAID LISTEN …
Beth brought a poppy seed cake to the printshop today for her birthday. Catherine Stack is teaching Sugarlift technique in Etching II, and devraj is printing lithographs of strawberry jam labels from 1941. I’m going to take a bath of acid.
1/1. hardground etching and chine collé. 2016
I am having difficulty getting an even, rich black tone using the aquatint box at the printshop. I spotted Joe’s prints of architectural and industrial forms; the prints are almost entirely composed out of tonal etching. (In other words, the shapes are made out of shades, not lines.) So I caught him with a ham sandwich and asked if he would take a look at my aquatint sometime, ‘Yes, of course,’ he replied. This evening he taught me a method of building tone using a sponge and soft ground. To begin, I polished a scrap of copper using ‘MAG’ (nesium carbonate) and a salt and vinegar mixture. Once clean, Joe showed me how to apply a thin layer of soft ground to my plate using a thick, soft brush which extended beyond the edges of the small plate. Before allowing the soft ground to dry, we covered the plate with a small spongy thing Joe found from a man who sells rubber goods on Canal street. (I don’t know why I’m giving away all my secrets) I ran …
3/4. Hardground etching and chinecollé. 2016
Two prints by jacob hasimoto. The New York based visual artist works primarily in painting and sculpture. These two prints are hard-ground etchings with aquatint. Each is an edition of 25. (Images from durhampress.com)