Today, a group visited my studio to participate in a printmaking workshop. Jean-Pierre Golay had visited my studio several years ago when I was located in neighboring Mount Horeb. In 1999 I had hosted a get together for the Madison Print Club, and Jean-Pierre had attended. We began communicating about a year ago when, after visiting my studio during the spring art tour, Jean-Pierre suggested that I invite the league over for a workshop. It took place today. I spent yesterday cleaning my studio (it needed it) and preparing for the group. This morning ten people appeared at the studio door, and we dove into creating etchings together. I demonstrated the basics of line etching and described the process to them. They worked, drawing their compositions onto copper plates. The plates were small and were completed by noon. During their lunch break, I etched the plates in the acid bath. The afternoon found everyone eagerly inking, wiping and printing their plates. I showed them how to do chine colle. We used sheets of dyed Japanese paper. It was fun to watch the excitement on their faces as they pulled their etchings through the press. Other than me working intently every day in the studio, the place can be pretty quiet. That was not the case today. The university league was a delightful group to host. They took photos. I hope the shots capture the energy of the day.
They departed with their prints by mid afternoon. I took a break to assess the remainder of the day. The plate that I had drawn on at Phelps Park in Decorah needed attention. I had drawn a drypoint with an etching needle over my sharpie lines (see previous blog entry). I had printed this drypoint image. Using these outlines, I began laying in values with charcoal, pushing the charcoal around on the surface of the printing paper. I erased frequently. The printed drypoint lines were a rough guide for my development of the composition. I made only a few adjustments to my printed drypoint composition. Looking at the charcoal drawing that I have now completed, I need to decide how to approach the etching. Will it be done in line? Several stages of sugar lift followed by drypoint? Will it be entirely drypoint? Will there be soft ground used? It could be a combination of all of the above. The melody (drawing) has been put into place. Now, I need to decide which members of the band will be participating and playing the parts. I will put it away for a while, and when returning to it, I will reassess. This is how I typically approach my work. There will be additional trips to Decorah, Iowa to look at the place and to work, on location, on the copper plate. I feel confident that this will be the best composition that I have made from this location. It is a place that was the subject of one of my first etchings as a young art student at Luther College back in the early 1970s. I will study my new drawing (which was done from a new vantage point) over the next few weeks. I will, at times, detach myself from it so that I can look at it critically and analytically, and hopefully make the wise choices. The purpose of detaching myself is necessary. I mention analysis and critical thinking. This is important, but equally important is the need for spontanaeity and freedom in the execution of the work itself. I have learned, over the years, how I can make my best work.
