Super Blur

Ahhhh! It's the middle of May?! What happened to April?

My class has been going really well. I offered a two week extension for my Relief Printmaking class. All of my students have signed up for it! I think after the upcoming class in August, I'm going to offer the class in the Fall for 6 weeks from 4. The August class is already set in the books. I'll offer the extension right away to those students. Yes, I already know that I have people who plan on taking that August class.
My current students are doing such great work. These people who told me at the first day of class, that they can't draw. HA! Now they're making really cool stuff: taking on complicated, detailed imagery.

A few weeks ago, Water Street Studios juried the upcoming Summer Show. Lisa Gloria was the guest juror. It's an interesting process. I put a ton of prep work into it, stopping in everyday to take care of a few submissions at a time. We had over 50? 60? applicants. A lot. I spent 3 hours after my class working on applications, finishing them early. There was no panic, rushing. Real easy!

What I found the most interesting about the jurying process is the politics. I'd say that jurying is about 60% politics, 40% good art. Maybe I'm being generous?
Maybe it's not a good idea to cater your work to a juror like I've heard. Lisa is a very technical still life painter and she was knocking painters on technique and therefore, I believe that fewer paintings got in the show. She has less experience sculpting, printmaking, photographing etc which I think it was easier for her to like the pieces because she had no technical experience to seriously criticize them.

I probably shouldn't be talking about this because the drama is a thick fog in the gallery, and it will be around until after the opening. Maybe longer for some. People get upset when they get rejected from a juried show. Sometimes, there is hate mail. Oh boy, I loves the hate mail. Nothing's more interesting to read than an adult throwing an ego-sized tantrum! Entering in a juried show is a gamble. Some people understand the risk and handle a rejection notice maturely. Personally, I see it as either my aesthetics didn't jive with the jurors or I have to seriously reconsider my work.

I honestly have not been happy with the work I am making. I think that part of the problem is I am not making enough. I have a new series in mind, and I'm already writing a few ideas for it. I'm also doing a little photography project that has nothing to do with art shows or a body of work that I'd count in my portfolio. In fact, I have to get back to it, because it is a nice day out. Hopefully the light meter decides to work again!

The Nagging Thoughts of a First Time Teacher

I have just finished the third week of my printmaking class. Right now, I'm feeling a bit bummed.
There are two real young students in my class ages ten and thirteen. Ten I admit is way too young, but I figured if the parent is okay with their child handling knives then I'll allow it. Thirteen is the minimum age I set for the my class, but I wonder now if that is too young as well.

The main goal I have for this class is to simply have fun. Also, among many other things, I want my students to learn about printmaking and to gain an appreciation of it. I've gotten very flattering complements about this class that have really made me so happy.

For example, one student who happens to ask lots of good questions and a lot of advice told me today that he now understands how to use to line create an image. In the past, his linocuts were basically cutting out an outline. Today, he's using contour line and varying the thickness and quantity of lines to create these flames and skulls with depth. He made his huge leap from his first intro block to this second block.

What's got me down is I feel like my younger students are not enjoying the class as my older students do. Maybe the wood (MDF) is too hard? Maybe the tools are too big? Maybe I'm not giving them enough attention?

I show everyone how to use the tools and print. I treat everyone on the same level. If I see anyone struggle, I help them through advice and demonstration. If someone asks a question, I'll work it out with them.
I'm not going to stop the young students when when I see them place the knife blade perpendicular to the block and twist the tool into the wood. It made me cringe inside, but I know that they should be free to make these creative choices in their work, regardless of the number of teeth a u-gouge may grow.

The ten year old enjoys the hack and tear aspect of cutting wood so I'm not worried about him. He's making a big, horned battle helmet decorated with battle axes and hammers. However, the thirteen year old cuts out most of the details he draws. He takes frequent breaks to relax his wrist, checks the clock a lot, and sighs. I feel stuck!! I've given him advice on cutting several times like: don't force the tool, make small scoops, cut with the shoulder not the wrist, etc. I'm worried my thirteen year old student is not having a good time or worst of all, dislikes printmaking. Well, I have until next Tuesday to think of something to help him out.

Despite some woes, this class has been great. I'm going to offer an extension on my class because many are still working and some want to continue working on more projects. And promise I'll remember to take pictures!!

Gettin' My Teach On!!

Ah, first week of my first time teaching is done. It went from good to even better.
The class is a four week Relief Printmaking class that meets on Tuesday and Thursday evenings for an hour and a half.
The first day of class, I was so nervous. It put me into some kind of energy high, bouncing everywhere.
The second day, no nervousness here. I was in something of a zen mode. Maybe it was because we were printing. That's when the magic happens.

I'll probably talk about my students like parents talk of their kids: All the time and always so proud of 'em. They really get into their work and want to make good prints. We don't even realize how quickly the hour and a half passes. I casually check the clock and see that class is technically over, but I invite my students to stay late if they wish.

Yesterday, during my printing demo, I showed them the nice paper they use to pull final prints. One asked how much a sheet cost, and I explained it was about $3.30 for a 16 x 20" sheet. I saw jaws drop. So none of them wanted to print their first blocks on the Kitakata paper until they made something they felt was worth it. I thought they had stuff worthy of nice paper.

I'm excited to see what their creativity endeavors them to do. I promise to take pics! I brought my camera last night but totally forgot to snap photos. Oh well, I have 6 more next-times before this class is up.

Class Prep

Getting the materials ready for my printmaking class.
I just built this inking slab!

I plan on stapling some non-slip material onto the back of this board. Also, I learned yesterday that scrap wood is free at hardware stores. There was a pile of these 17 x 22" plywood boards. I should go back and grab a few more for some rough woodcuts.

EDIT: I went back to the hardware store for more of that scrap wood and apparently it wasn't scrap. They chopped these boards to build signs in the store. Also, scrap wood is sold at an 85% discount and the cashier yesterday didn't feel like charging me. I guess yesterday was just lucky.

And a few days ago, I made double pointed knitting needles with bamboo chopsticks!

It's quite easy if you have a woodcarving knife. I coated them in shellac when I finished carving to prevent yarn snags. Next thing I need is a project to try them out. I'm guessing the chopsticks make 3-gauge needles.

Back from HELL WEEK

Those They People in their infinite wisdom have said that writing stimulates your brain more than tapping keys on a computer. So here I sit at my desk writing this blogger entry on paper to be typed afterwards.

Last week was an effing blast. I just returned from the Southern Graphics Council conference which was held in St. Louis, MO this year. For those of you who don't know what SGC is, it is a big printmaking nerdfest. Though, if I were to acurately describe what I did in St. Louis last week, it is better known as Hell Week, Evil Prints' Bad-Ass Alternative Evening Printertainment.

The SGC stuff I saw was...okay. St. Louis Washington Univeristy is a beautiful campus. I attended panel discussions which were boring. I'm not asking for Michael Bay explosions or stupid gimmicks to entertain my reptile brain, but giving a actual speech rather than reading from a paper and also putting some energy into your words really gets me interested in the subject.
I also attended some demos which were okay. It was basically look at this cool shit rather than teach me something. One of the coolest things SGC offered was a presentation by Hung Liu. She is a fantastic artist and I can cross her off my list of artists I wish to see in the flesh.

The other coolest thing SGC offered was the Open Portfolio. I got to see a whole bunch of good and bad work and show off my crazy stuff. Printeresting shows highlights of this event and my Duke of Pipistrelle litho appears on the second portfolio session. A lot of NIU folks made it to Printeresting which is pretty cool. Gotta represent!! My table was busy, I couldn't talk to everyone. I ran out of business cards. I made some print trades, sold a print and met a bunch of cool people at this event. I had an adrenaline high afterwards.

Fred Stonehouse print!



Okay so on to HELL WEEK!
Thursday night, Evil Prints sends a party shuttle to transport us between the studio and the hotel. This converted school bus had a DJ and HUGE speakers at the back. This bus was bumping. Tessa says to me this is how she wants to go to heaven when she dies.

EP was PACKED. The whole back of the printshop was cleaned out and up to host a Printmaking Carnvial with games, the Dumbo See-saw litho press, a wheel of Misfortune. Beer was everywhere. EP is sponsored by PBR. There were so many people, they were running out of beer. It was great seeing all the cool folks again of EP. It was also great seeing all the awesome prints everywhere.

The Awesomest thing of Hell Week was the last night of the conference, The Printbanger's Ball. Dennis McNett created this Viking Battle Ship which was paraded down Manchester St. from EP to the Atomic Cowboy bar. Our parade consisted of two giant idol heads followed by the people pulling the battle ship which John Fronza's metal band Voyage of Slaves wailed from inside and a few marching band drummers kept at the back of the parade. This whole procession was surrounded by a large howling group wearing masks, waving flags and fake weapons. Tessa carried one of the idol heads; I was a flag waver. We walked down the middle of the street, holding up traffic and makin' mayhem. It was pouring rain but I think that made the parade even better even though we couldn't see Fronza's band. Have to protect the electrical equipment!
At Atomic, there was a muddy mosh pit once the battle ship docked.

There was so much happening here at SGC. It was great. I'm so glad to meet up with people, meet new ones and hang out. I got to watch Tessa get a tattoo! I'm excited to see if next year's SGC in New Orleans will be just as good.

Especially good at eating and complaining

I'm drawing another cat. It's something new for this cat exchange. I'm enjoying the doodle I'm working on now, and I think I'm going to take it to the copper plate. I'm just wondering, will this be another idea taken to the next step and then abandoned when I'm ready to print?

I cut a block, sketched out a new block, made a collagraph and now I'm considering an etching. I haven't pulled any prints yet. I don't want to sound like I'm complaining although it is a little frustrating. This struggle is probably a good thing.

I'm drawing a cat that's pretty fucking fat. and looks like a ball of pubes.

I am going to draw more everyday, I think my drawing muscles have atrophied.

A Pattern to Make H.P. Lovecraft Proud

Cthulhu hat! A pattern to make H.P. Lovecraft proud

I created this hat for my sister to accompany her Cthulhu themed xmas gifts! It’s a combo of a beardhead crochet pattern and a cthulhu amigurumi pattern.

Specs:

J or K hook
Gauge: not a stickler for gauge as long as it fits your head, you’re good! Bigger head? Add more stitches! Etc. This hat doesn’t fit tight like a beanie.
Yarn: Loops & Threads Country Loom Super Bulky, the color I used is called Solarium but whatever Cthulhuy color you want is cool. Why not pink?
This pattern uses a lot of yarn. I needed a little over a skein to complete this project.

Notes:
Ch2 does not count as a stitch.

Step One, Starting Hat:

Chain 3
Rnd 1: 12dc in second ch from hook, join with sl st to first dc made, ch2
Rnd 2: 2dc in each st around, sl st to first dc made, ch2 (24dc)
Rnd 3: *1dc in first st, 2dc in next st*, repeat, sl st to first dc made, ch2 (36dc)
Rnd 4: *1dc in first 2 sts, 2dc in next st*, repeat, sl st to first dc made, ch2 (48dc)
Rnd 5: *1dc in first 3 sts, 2 dc in next st*, repeat, sl st to first dc made, ch2 (60 dc)
Rnds 6-9: dc in each st around, sl st to first dc made, ch2
Rnd 10: Hdc in each st around, join with sl st to first hdc made, ch3


Step Two, Back of the Hat:

Rnd 11: Dc in next 39 sts, ch3, turn (40dc)
Rnds 12 & 13: Dc in each st across, ch3, turn (40dc)
Ch6 then sl st into top of ch3 on the opposite side, finish off.

With the hat facing you, you will have the 6ch connecting the hat.
Make sure this strap connecting the ends fits comfortably across your face. Your nose should poke over the strap with the strap resting over your upper lip. Adjust as desired. We will be pinching the sides over the temples which will pull the mask over your nose.

Step Three, Making the Tentacles!

Rnd 14: Starting on the right side (hat facing you, upside-down) join with a sl st to the 10th st to the right of the ch6 strap, ch2 (remember, this one doesn’t count as first hdc), hdc in next 9 sts, hdc in the 6 chs, hdc in next 9 sts, ch2, turn.

Special Stitch, Tentacle Coil:

Chain 12 (or desired length of tentacle), 3 sc in third ch sp from hook, 3 sc en each of next 9 spaces

Rnd 15: Hdc in first 6 sts, *Tentacle Coil, 2 hdc,* repeat until 6 remaining ch sps, hdc in those remaining ch sps

The hat I made has 8 tentacles, but you can add as many tentacles as you deem fit for your hat! I did just one row of tentacles but you can always do multiple rows for greater Cthulhu effect.

I also added a shield of sorts to protect the mouth and nose where the wind may blow between the tentacle coils. That is as follows:
Rnd 16: Hdc in each st across, ch2, turn
Rnd 17-19: Hdc2tog, hdc in each st, hdc2tog in last two sts, ch2, turn
Rnd 20: *Hdc2tog, hdc in next two sts,* repeat to end of row, ch2, turn
Rnd 21: *Hdc2tog, hdc,* repeat to end of row, ch1, turn
Rnd 22: Sc across row and continue working in edge sc in each st around bottom of hat.
Finish, Weave loose ends.



Step Four: Making the Temple Ridges

This cinches the opening in the hat to cover your nose and only expose the eyes. It also has a more menacing look!

With the hat on, slip the bottom of the face opening over your nose and pinch the fabric near your temples. Mark the start and end of each ridge with a stitch marker or paperclip. Remove the hat from your face and sew the ridge into shape. The ridge gets gradually larger as it approaches the face. Weave in loose threads.



Step Five: Making the Wings

Ch 4, turn
1 Sc in each 3 ch sps, ch1, turn
3 Sc, ch 4, turn
3 Sc on chain, 3 hdc on three 3sc from previous row, ch1, turn
4 Sc, ch 5, turn, 4 sc in chain, 4 hdc
4 Sc, ch 6, turn, 5 sc in chain, 4hdc
Ch 3, work approx. 8 dc along top edge of the wing
Sl st into first ch or near first ch
Fasten off, leaving a long tail for sewing

Put on the hat again. Using a mirror or an awesome friend, mark where you’d like the wings to attach to the back of the hat. I attached mine between the 5th and 6th rnd.
Sew the wings onto the hat, weave loose ends.

You’re done! Now you can spread your Cthulhu rampage everywhere you go and stay warm to boot.