campfire

(version 1)
vine black ink, white paper


I experimented with the contact between the positive/transparency and the plate for this one, seeing if I could get either a distressed or aged look. The result is good, but I'm wondering if I took it a bit too far. I'll make another version in cleaner conditions, and with better contact to see if a more clear image still holds up and gives the desired effect.

I'm looking to elicit the feeling of an old tradition by taking an image of a gathering from this past year and developing it with an older process of printing. Experimenting with some warmer black ink and some dark browns (perhaps even a some kind of sepia tone), and an off-white print paper might help signify age and tradition.

(version 2)
dark brown ink, white paper


(version 3)
dark brown ink, off white paper


(version 4)
new plate, vine black ink, white paper

Alternative Photography

Has made a web page for me to showcase my completed images, using the polymer photo gravure process.

http://www.alternativephotography.com/gallery/v/scott-barnes/

I am very happy that my work has developed enough to be accepted into this community, and am flattered that they have made a page for me.

Here is a descriptive quote from the header on the alternativephotography.com website:
"Historical photographic methods in use today - the art, processes and techniques of alternative photography"

There are too many unique techniques to list on this blog. Please enjoy my work, but you are also encouraged to explore the Alternative Photography website and look at the engaging work by other artists using varied historical photographic techniques.

There is the ordinary, banal, too often falsely raised in the art world..blah blah blah .... but isn't it more special when you recognize those feelings that are the heightened moments of arousal, or maybe just awareness, the moment of special connections, something you can almost put your finger on........ those feelings....... as you recognize them...... that exceptional experience......
what does that LOOK like?

I wonder...

Translating feelings, impressions, into a visual language challenges me to look deep inside, filter out the rest, while focusing on the real connection to that heightened state, in a way that discovers the sensation that makes it so good that it keep playing over and over again in your mind.

Keep Paddling (the river keeps moving)

working through frustration, to emerge on the other side...

The photopolymer graveur process has become frustrating. I don't know whether I've become more demanding, with a more finely tuned eye for detail, or I'm just hitting some sort of sophomore jinx with a new process. Perhaps some things are not working right this week. I'm encouraged by some of things I've learned while making mistakes, but frustrated that the final result is not right. The photopolymer graveur process is still new to me, but screen printing is not. I've made three attempts at one image with a screen today, with poor results.

I have three options.
1. Should I give up completely?
2. Should I take a long break and come back to the problems later?
3. Should I keep pushing forward, finding a way to turn anger and frustration into determintation?

I am a fan of option #3. It is one that I naturally follow, and a belief that my experience on whitewater (and other outdoor activities) has reinforced. The river will not stop moving. I will make mistakes along the way, but I need to forget them immediately after they happen and keep moving forward.



I'm inspired by some of the students in my studio classes. Their frustrated learning curve is palpable, particularly when I hear them let out a big sigh, drop their shoulders, and look away from their drawing. What has encouraged me so much, lately, is the frequency with which the return to their work, trusting the process of looking/drawing/looking/drawing/etc. Their faith in the process, and belief that they will make progress, moves me forward in my own work, and give me faith that I, too, will make progress.

Beginners mind...
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update (Oct. 15)

made some progress with the photo gravure



solved the contact problem, mostly...
I admit that I was not as clean as I should have been, so the three pieces of dust tented the transparency enough to lighten up the right side, BUT everything else is looking pretty good, so at least the work flow is good now.

downside is that I still can't make a screen for anything....
I've done so many of these that I can't figure out what I am doing wrong.
It will wait for the weekend. I need a break for now.

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update #3:
I have not liked the overall image, and did not trust how much information would be lost with the gravure process, so I decided to do alot of burning and dodging in photoshop. This was all done while clicking the preview filter on and off to predict results.
After a while I decided, since nothing was working perfectly and this was becoming an experimental piece anyway, to push the burn and dodge to extremes, betting on anything above 80% and below 20% blowing out to pure black or white.


My guesses were about half correct. I pushed it a bit too far, and the image is awkward. But, the extreme example is a good way to learn, and I will keep this one for future reference.
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update #4:
This is a good image. Adjustments in Photoshop improved the image. I am learning how the preview curve actually relates to the final product. The transparency/positive was good. The only problem with this plate was a lack of good contact in the lower right corner. I'll clean the glass on the exposure unit and the print frame before plate #5.


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update #5:
This is the final image.
Contact with the frame was good.
I dried the transparency with a hair dryer to make sure it did not contain any moisture.
I had taken the advice of a friend and sprayed the back of my positive/transparency with matte medium to eliminate Newton's Rings. The same person discovered why baby powder was useful in this process. Brush it on the plate, then brush it off. The super thin residual film of talc will create just enough space for gas and water vapor to escape during exposure. Talc is fine enough to not act like dust and create exposure issues. I imagine that using baby powder would make my results even more predictable.



I will edition this plate.
The next step is to figure out which tone paper, and what color ink I will use for the edition.
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Here are the plates in order, for easier comparison.











http://artandwater.blogspot.com/2010/06/photopolymer-graveur-curves-preview-in.html

http://artandwater.blogspot.com/2010/04/solarplate-etching.html

http://artandwater.blogspot.com/2010/04/photo-polymer-gravure.html

http://artandwater.blogspot.com/2010/05/plate-decisions-and-editioning.html

http://artandwater.blogspot.com/2010/05/photopolymer-aquatint-grayscale-test.html

http://artandwater.blogspot.com/2010/05/variety-in-three-editions.html

http://artandwater.blogspot.com/2010/05/better-look.html

Life Drawing instruction blog

I just started this new blog for the sake of art students enrolled in my Life Drawing class at Fairleigh Dickinson University. It acts as a supplement to the class work. Feel free to comment on it. I am particularly interested in the comments from current students as well as fellow artists.



This is an example of two 30 second gesture drawings done on top of each other.

The challenge is to keep proportion in mind, but work fast, without pausing to measure. It is an excersize to loosen up your hand and eye in the beginning of class. It will also train you to see the bigger picture and not be distracted by details of a figure (which can be added in much later if you wish).

General Drawing instruction blog

I just started this new blog for the sake of art students enrolled in my General Drawing class at Fairleigh Dickinson University. It acts as a supplement to the class work. Feel free to comment on it. I am particularly interested in the comments from current students as well as fellow artists.



This 60 second drawing is an example of how you want to address the entire page at the start.
You can use a light touch to feel your way around the page and dictate how you want to crop what you see in front of you, turning into a picture on a page.
Quickly define where the shadows will be. You can fine tune later with an eraser and a pencil/charcoal to make the light areas lighter (eraser) and the dark areas darker (pencil/charcoal).

Exposure choices and adjustments for Gravure printing (photo sensitive polymer)

I'm exploring exposure options, and can see the merits of multiple versions, but I might be too close to the process right now to make a judgement on the final image. So, which one do you prefer? Why?


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5

N.Y. Feminist Art Institute workshop at FDU

will take place during my General Drawing class on Tuesday, November 16th, 5:30 - 8:00

http://www.nyfai.org/visualdiaries/index.html
http://www.nyfai.org/currentactivities.html

from the flyer/prospectus:
"Consciousness-Raising, Visual Diaries, Art-Making Workshop.
The visual expression of wordless feelings; personal heiroglyphics linked with content through consciousness raising."

This should prove to be very exciting and elightening. I hope that it helps give students courage to create and express beyond the (sometimes) narrow confines of academia, and give them another set of tools through which they can find their own voice.

Prints in San Francisco this weekend

These two prints will be at Somarts this weekend
934 Brannan Street
San Francisco, CA






if you are in the area, stop by for a look