I’ve been pushing hard, though not on the big, important work I must attend to. My plan for breaking out of the weird creative doldrum I’ve found myself in was to just get at some simple, gleeful, who gives a sh-t drawing. My go-to for this is CATS – they’re almost like cartooning for me. I do them rapidly, over and over, until I get the marks/moves and moment I’m looking for. Think of it as volume drawing, lots and lots of it with maybe a 30% keeper rate. I cut each regular sheet of paper into 3 smaller sheets, so I can burn through a lot and not care.


I’m beginning to feel aired out again, as if I can breath, sling ink and feel right. Tomorrow or this weekend, I’ll settle back into the Paterson Project. One complicated drawing will be abandoned, despite its beautiful moments. I’ll start over, stay loose and try to make the new attempt roll out as easily as my feLINES. Perhaps some of the good parts of that first drawing will end up collaged into the new one too. I’ll keep you updated


Your Buddy Bill ————————–


Here are a few of the 20 or so cats I’ve done this week. I haven’t flattened these drawings yet, so there are some wrinkles, which I know you’ll excuse!




PS: to expand these images and see more detail, click READ FULL ARTICLE, immediately below.

There is always a lot of half finished work in my studio. Much of it will never go farther, and sometimes that bothers me. I wish I could more effectively direct my effort and not waste it. But once or twice a year, when I get seriously stalled, I end up glad it works out this way. It’s usually after I’ve careened into some confusing, creative roadblock. I’m stalled again, probably have been for awhile, don’t know why, and regardless of how many times it’s happened, I’m still a little freaked out. Finally comes the intelligent thought that I should just do something else. Truth told, this feels as much like avoidance or irresponsibility as it does wisdom.


A week or more goes by, and then comes the day I run out of other chores and excuses . . and I still don’t want to get back to work! This is just plain laziness, which is an unfortunate aspect of who I am. Sometimes I give into it, but mostly I fight it, because if I give in too much or for too long, it begins to become a habit. That’s really bad. So, when I need a jumpstart for real and immediately, a good way to do it is by messing with something I don’t care about. Fortunately, I have plenty of incomplete drawings to choose from!


My new project (a suite of drawings portraying Paterson, NJ) is fighting me every mark and moment. I’m feeling more beat up than usual and I’ve already gone through the whole cycle I just told you about. My website is updated. I’ve read a pretty good book, and then most of a so so one. I cleaned some old prints and cut mats for them, picked up my studio, and if you want, you can add another etc. or two’s worth of procrastination as well. This morning I reached the get-my-butt-moving moment. It was time to make marks, period. Here is the drawing I chose to throw under my brush:




Now it looks like this. It’s still a little crazy, I think it’s done and I think like it:




Hopefully, after I’ve allowed myself another day or two of almost careless play, I will have loosened up and have enough momentum to shift back to my real task.


Keep your fingers crossed, okay?


Your Buddy Bill ———————


PS: to expand these images and see more detail, click READ FULL ARTICLE, immediately below.

Hey all –


It’s been a frustrating first week of February, with every single drawing stalled, and nothing but questions about how to get any of ’em going again. There are times when I make glorious, often surprising marks, and others (like now) when my brain and hand can’t seem to manage anything but ugly. So weird. There’s nothing for it but to get back into the trenches and push until I’m suddenly moving. Been here before. Don’t like being stuck in the mud – and never will . But so often, the next thing that happens is unexpected progress!


It’s time to get back at it. I’ve procrastinated for several days, by shooting and adding 30 new drawings to the Website (click on DRAWINGS in the toolbar at top, then RECENT ADDITIONS). Now, I’ll clean my studio (which is a total wreck) until it looks like this. Yep, that’s as organized as it really ever gets. Once I’m set up to make my next mess, paper and ink will fly!




More to come – stay tuned!


Your Buddy Bill ————————–


Hey All –


Over the next week or a bit more, I’ll add a good deal of new work to this website. The creation of some of it has been chronicled here, but I’ve now taken really good photos of the finished drawings. There will also be a selection of somewhat older (and very interesting) work that is only now being uploaded. If you’re so inclined, it will be worthwhile to check in every few days. Go to the DRAWINGS section (find its tab in the toolbar at top), then click RECENT ADDITIONS


Hope you enjoy what you see. I always welcome comments, questions or constructive criticism. You can email me via the CONTACT feature, also in the toolbar at top.


Your Buddy Bill ————————


PS: Here is a detail view from one of the drawings just now going up.



To expand this image and see more detail, click READ FULL ARTICLE, immediately below.

Hey ya –


I went up to my studio this early morn, thinking I would jump right on a difficult new picture I’ve begun. But then I got distracted by a rambunctious Passaic River sketch I’d done on site in failing light months ago. It was another version of the same scene that has so captured my attention, and has been clipped up above where I work, because it clearly had moments, though more bad than good. Before I knew it, I had it down and was going at it; slapping ink down, scrubbing and scrapping right back into it, sanding, cutting, collaging. I was completely heartless.


Now at day’s end, my knuckles are sore from all of the twisting and torquing as I ground into the sheet with sandpaper. My knife is as dull as a child’s safety scissors, and I’m very worried that my drawing might just fall apart when I lift it off the board. That’s tomorrow’s problem!


Hope all is hopping right along,


Your Buddy Bill ——————-


I didn’t shoot the drawing before torturing it, but it’s in this photo of my messy work area.



It looks like this now!


To expand these images and see more detail, click READ FULL ARTICLE, immediately below.

It’s taken me days and days to literally “make” my way along this river bank, but at last I’m clear over on the right side, with just a few buildings left to do. I must also deal with the foreground (the white area at the bottom left), which will become duckweed with perhaps a bit of trapped, floating debris. Then I’m done!


I had not intended this drawing to become so focused, but I’ve always had a tendency towards detail, probably because I look at the real world just as closely. And let’s face it, I’m really, really good at this sort of picture making! Several years ago, I did a series of illustrations for a book project (sadly remaining unpublished), which defines the extreme I’m capable of. At some point in the nearish future, I will add a new section to this website featuring the entire project, but for now, below the two photos of my current picture, is one of those illustrations. It has been awhile since I’ve looked at it, and I have to admit, I’m kind of impressed. These days, I’m trying very hard to be more expressive (one could even say painterly) in my approach. Still, it’s nice to know I can comfortably slip back a little when I find I’m drifting that way.


Okay, I’m gonna sneak back to the ink for a bit. I also promised to be a good house husband and vacuum. Reidun’s making her incredible pizza tonight and dear friends are coming over. What a great day!


Your Buddy Bill —————————–


Here is the drawing as it stands: I’ve tried to capture the scene in bright sunshine, when shadows are their darkest, and sparkly water and leaves really throw back light.



And this is a more detailed view.



An illustration from The Old Meat Hunterthe book is organized into four sections, which correspond to the seasons of the year. This is the opening image for Spring. It’s done in ink on Clayboard, and the original is only 11 inches wide! It took 3 months.


To expand these images and see more detail, click READ FULL ARTICLE, immediately below.

The trees in this drawing are taking a whole lot longer than expected, and I’m not there yet. I’m pretty worn out too, but pleased with the rich interplay of textures, tone and shadows. And I’m learning still more about just how much I can rip and scrape into a sheet! Sometimes, when the paper is damp, it feels more like I’m sculpting than drawing, as I literally push around small areas of  surface pulp. In a sense, I’m actually building these trees! Once I’m finished, I’ll have to stabilize areas that I’ve abused so thoroughly that they’ve become fragile. Lots of little tags, flaps and fuzz will have to be glued back down, and I’m sure I’ll need to patch and strengthen some places from the back too.


My new estimate is at least 5 more days to completion. Once I’m through with leaves and branches though, I’ll probably take a break and begin a new drawing, something much looser. I’m thinking it’s time to do a view of the Paterson Great Falls.


I’ll check in again in a couple of days –

Your Buddy Bill ————————-


PS: Here is a quick shot of my drawing as it is now. The photo doesn’t do it justice (too contrasty), but if you compare it with the one I took last wednesday, you can still see I’ve come a ways! To enlarge the images, click READ FULL ARTICLE (in the gray bar), immediately below the photos.



Some of my none artist friends seem to think that being creative means I have some sort of special magic.




Success is hard earned. I try something I think might work, over and over again until either it finally does, I’ve worn myself out – or I’ve figured out different way to keep trying. I chase after whatever move of the moment feels the most right, then I move on to the next moment. Most drawings are made up of a lot of these, with a fair dose of confusion accompanying them. Even if I’m up to something minimal, like a gestural drawing of a cat done with flying moves, I still have to find the few that get it right. I almost always get it wrong first, a bunch of times, with one or two just missing by an unfortunate mark or two. So, it’s mis-stepping across the finish line. I’d like to think that most simple looking, absolutely masterful drawings I’ve seen came about after their creator went through the same thing.


I tear up all my failures and use them for scrap paper so no one discovers how much I stumble.


One thing I’ve been working hard on is trying to accept that the very best drawings can have a little ugly in them. Sometimes, it’s what really defines them, like a slightly flawed vocal character that makes a great singer unforgettable. As obsessive as I am, it’s very, very hard to embrace flaws. Sometimes I put a patch over them and man oh man, am I good at it! You can’t see ’em. You can’t even feel it if you run a finger over them! I sand down and feather their edges. I glue them in perfectly. I’m obsessive, got it? Maybe it’s cheating, but then maybe not. You know those scraped drawings I just mentioned? Lately, I’ve been using bits for my patches! There are at least 5 small ones in the foliage of the last drawing I posted – two were from bad cats and another came from the head of an owl that tanked. Who could have guessed these losers had a future as leaves?


There’s probably yet another lesson in this; maybe about better understanding or assessing the character of marks and texture, outside of context? Oy, like I don’t already have enough to think about?


This is a detail view of my drawing this morning before I start back in. It’s also my view right now, in this tight, as I keep moving leaf by leaf towards the right. In the middle of this copse of trees is an area where we glimpse the sunlit road through darkened trunks. This little vignette is one of the things that first fascinated me with this scene. I’m also adding a shadowy hint of other manmade structure behind the rest of the trees too, which is hard to do and make believable. I’ll stick with it and get it there.


Happy Weekend!


Your Buddy Bill —————————




To expand this image and see more detail, click READ FULL ARTICLE, immediately below.

In my last post, I said that sometimes the drawing is in the driver’s seat. Clearly, I’m just along for the ride with this one. If I’m not sure I like where we’re going, I’m still making the trip.


It’s not going to be as painterly and broadly suggestive as I had hoped. A lot of leaves seem to want to pop in, and though I’m getting better with foliage, I’m beginning to feel like I’m going about the whole drawing dot by dot. That might be okay. If you scroll down two pictures (to the second image in my last entry), you can compare where I was then with where I am now.


We’ll see what the next day or two brings, and then I’ll check back in.


Stay snug,


Your Buddy Bill ———————-




To expand this image and see more detail, click READ FULL ARTICLE, immediately below.

Here is my plan: I’ll make pictures of the Passaic River from a few hundred yards above the Great Falls, down past that big plunge and then a little further on, where the banks are lined with factory ruins. This will take us on a short excursion with scenes ranging from dramatic (and at times a little industrial apocalyptic), to the most mundane of views, where you wouldn’t expect any visual poetry at all. To find it, and realize there is enough to keep making more pictures of it is a new experience for me. I’ve never seen my buddy Bob (who is also hard at work painting Paterson), take more than 10 minutes to set up and start getting paint down. He must have clearer vision than I do, but I’m working on that.


These two pictures are my start. Both are of the river immediately above an ugly bridge, that I’ll soon tackle. This view though, is of the river you wouldn’t even glance at. But I did, and the way it was sliding along needed considering, and then the bank started blooming as the water level dropped this summer. There was duck weed along the edges, which meant there were ducks there too of course (you might see ’em if you look close). Now, in winter, the scene is bleak and harsh, but there is a picture I could do in that too. Geez, I had better be careful – I gotta get on down the river!




Your Buddy Bill—————————–


Passaic River #2, Autumn, Above Spruce St. Bridge. Paterson, NJ.

Done largely on site, then finished in the studio.



Passaic River #3, Autumn, Above Spruce St. Bridge. Paterson, NJ.

This is the drawing I’ll settle into as soon as I’m done with this post. It’s tighter than the first one, though I’m trying to fight that. Often, a picture leads me along, every bit as much as I guide it.



To expand these images and see more detail, click READ FULL ARTICLE, immediately below.

Again, it’s Mt. Haynes, this time in winter – at least that’s what I’m trying for. Does it look that way?


I’m not convinced I’m finished with this picture, but that’s my normal state these days. It’s in my nature to take a finish right down to the last twig and dot. Truthfully, it often means more work than benefit in terms of how much stronger an image becomes. I’m trying hard to quit earlier, but knowing when to remains kind of confusing.


I have three more mountain pictures on the boards, but I’ll have to finish them in side moments, or when I play hooky from my Paterson drawings, which I will settle back into tomorrow. I hope I can keep my momentum up. I’ve managed to finish 5 pretty intense drawings in as many days!


Mt. Haynes F BLOG


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I’m in the midst of one of my best creative bursts in recent memory! It began a few days ago when I decided to pound out an image or two of one of my favorite peaks, Mt. Haynes in Yellowstone National Park. I didn’t care one bit whether or not I managed to do something decent. I just needed to clear cobwebs before settling down to some serious mark making after nearly a month off. It’s not unusual when I do such a thing, to manage nothing more than inky messes, which by the way, are still just as likely to lead to new, unexpected moves. This time though, the going has been great! I’ve finished four very rambunctious pictures and have a couple more coming along! This doesn’t happen to me very often, so I hope you will forgive my crowing a little!


I had thought to begin with, that these would all be night scenes, but now some look more like stormy weather. It doesn’t matter! I particularly like the visceral surface and texture I somehow managed in the first picture.


Mt Haynes E blog

Mt Haynes C BLOG


To expand these images and see more detail, click READ FULL ARTICLE, immediately below.

The smallest revision can make all the difference in how well a picture functions. So often, the sticking point has to do with how we perceive what we’re looking at – or how easily we become distracted by something within a picture that claims too much attention. When this happens, a balancing act is often called for, between remaining stubbornly artsy and accepting a more literal solution that, while it communicates better, may seem just a touch disappointing as a compromise. If a picture is to speak clearly and with focused strength though, you sometimes just have to do what’s necessary.


Here is a great example: the first photo below, is of a drawing I completed yesterday and posted very early this morning. My sister has since (very astutely) pointed out that while the irregular shape of the top of the image, with it’s ragged dark edge and white corners, is exciting, it’s too visually dominant. As a result, the darkness doesn’t read nearly as well as a night sky, and the quiet contrast between the sky and the gray mountain is badly overpowered. The simple fix was to darken the corners and top edge, as well as two light spots in the right half of the sky. Take a look at the 2nd photo, and you’ll notice that your attention is now solidly focused. The sky is the sky, and the mountain looms against it! Overall, the drawing is a trifle less abstractly thrilling, but it functions as it should.


Mt Haynes D1

Mt Haynes D BLOG


To expand these images and see more detail, click READ FULL ARTICLE, immediately below.

I must take better photographs of my drawings for you! Though I’m not sure how to capture the intense surface alteration and texture that is becoming so prevalent (thus far my photos flatten out or largely negate it’s character), one immediate improvement is to both match the warm tone of the paper I’m using, and to accurately record the range of temperature my grays now have. I had better explain this last, yes?


The India ink I use is the same I started with as a youngster almost a half century ago (geez). It’s Higgins Waterproof Black, which when diluted, yields grays with an appealing warm tone. Recently, I’ve stumbled upon something odd. I’ve discovered that when pressed deep into a sheet, my ink shifts from from a warm to a decidedly cool cast. Stranger still, straight black ink pressed in turns a surprising gray! Let me show you what I mean: below is another of the loose, expressive night time drawings of Mt. Haynes that I’ve been working on. Believe it or not, the dark sky and the battleship gray of the mountain are exactly the same ink, done at exactly the same time! Here was my method: I rapidly laid down large strokes of clear water where the sky and mountain are, then slashed in ragged strokes of pure black. You can see in the sky where it spread and ran in the wetted area, and also where it speckled and diluted when I hit it with a splatter of water from my spray bottle (especially noticeable in the upper left). My very next move was to place a piece of very thin, flexible plastic right on top of the area of the mountain, after which I simply pressed and swiped the side of my hand across it. The ink underneath was driven more than halfway through the sheet, and immediately turned a much lighter, almost bluish gray, that as it dried, gained a decidedly chalky appearance. I don’t exactly understand why my black so dramatically shifts its appearance, but it sure is startling and effective!


Mt Haynes D1


I’m going to finish this post with one more picture, a new shot of the same drawing I showed you in my last entry. Compare this much better photo with the earlier one (scroll down just a bit to see it), and you will get a clear sense of how rich my drawings really are in appearance. With the tone and temperature shifts in my grays and the creamy color of the paper, it’s almost as if, just barely, I am working in color!


Mt Haynes blog2


To expand these images and see more detail, click READ FULL ARTICLE, immediately below.

Here is the result of exuberance in the afternoon – and I am covered in ink and carbon dust (I’ve been sanding my drawings more and more). Reidun says I look like I’ve been working in a coal mine!


This is a drawing of Mt. Haynes (Yellowstone National Park) at night. I actually kinda like it! If you would like to see several other Mt. Haynes drawings – one or two of which might be a bit less crazy than this one, go to: http://billloganart.com/drawings/recent-additions/


Ink on paper, mercilessly abused, 18″ x 24″




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Hey Everybody –


Christmas is over, and it’s time to get back into my studio routine. Between now and late spring I hope to manage quite a few new pictures of Paterson, NJ. It will be a push, with plenty of show & tell along the way. First though, I can at last tell you about the Great Logan 2014 Christmas Project! As with past projects, it was meant as a gift to my Sweetie from my sis (Kay) and me. In typical Logan fashion, our task became much more involved than we imagined.


Our plan was to animate segments of a wonderful poem Kay wrote for Reidun, in which a Norwegian hedgehog (named Amelia Hedgehart) is determined to learn how to fly. Though she has a very un-Nordic name, she’s as resolute as any viking critter ever. It’s a good thing too because she faces all sorts of drama and quite a bit of soul searching. She must accept that being different means that sometimes you’re a loner. There are moments of wonderous beauty, as well as the daring rescue of a wounded friend who would otherwise perish in the fierce arctic night. Need it be said that no hedgehog had ever ventured out thus before? Of course, no tale of this sort would be complete without a few trolls and hags, but there is also a cozy hibernaculum to come home to, with crazy quilts, comfy pillows, and a plenty of tasty grubs. What can I say, it’s an epic saga . . . and that should have been our first clue that we were taking on too much. Oh dear, you simply can’t make an animated, short-subject Oscar contender in a month. In fact, you can’t even get all the prep work done, let alone make sense of the software.


Our most exciting moment was when we managed to make Amelia blink. Yep, we did it – she takes about 3 steps, makes a little hop, waves her paw slowly and BLINKS THREE TIMES! Bliss.


Sadly, we don’t yet know how to get even that into a form we can show you. We hope to soon. Meanwhile, you and I can have some fun with still shots from the grand scheme!


Happy New Year one and all!


Your Buddy Bill —————————-


Amelia Hedgehart – Our Heroine.

She is really cute, and designed in layers to articulate very like a puppet. She can look up and down, straighten up or bend over, and all of her limbs move. She also has about 20 different eyes, which means she can throw us all sorts of looks! In an act of graphic daring, I decided to keep her in black & white, while the backgrounds she inhabits (you’ll see ’em in a sec) are in stunning color.



Here is a chart that explains the alignment of Amelia’s different parts. I did it for my sis, to help her understand how everything fits together, pivots and moves.



And this is Amelia’s selection of eyes. I actually stole them from a bunch of my owl drawings. Because they can be infinitely reshaped and fiddled with in Photoshop, I can give our little friend any expression she needs.



Meet Torvald Haematopus Ostralegus, a Eurasian Oystercatcher.

Amelia hears him crying in the frigid night; a sound encompassing the very essence of sorrow and ill-fate. She finds him with a broken wing, which she sets. Obviously he can’t migrate, so Amelia leads him back to her hibernaculum (Norwegian hedgehogs always have very inviting ones). They pass the winter quite comfortably, sharing a deep appreciation for grubs and a passion for flying. Sadly, my Thorvald still needs legs and his wing, broken or otherwise. I must attend to it.



Amelia’s World

I put together a very, very long panorama, made up almost entirely from 5 of my wife’s childhood drawings. One in particular, repeats over and over again, each time altered and colored differently. I’ve become so good at doing this (again in Photoshop) that it’s a sunshiny day where Amelia enters at the very left. As she (and we) progress towards the right, the world moves into sunset, dusk, night and finally moonlight at the far end, where the view opens up and Amelia has left the light on in her hibernaculum – which is unfurnished as of yet.



These next pictures are snippets taken from left to right, so you get a good look at Amelia’s wonderful world, from her viewpoint. In Norway, hedgehogs are called pinnsvin (pronounced pins-veen). Isn’t that a great name?



Meanwhile, Kay worked on this:

After hearing the soul-wrenching cry, Amelia sets out into the night, and eventually meets Thorvald. The Aurora Borealis (made of colorized, digitally altered versions of some of my drawings) puts on a breathtaking show. There is also a passing comet, but unfortunately, it looks too much like a crashing starship Enterprise, so I’m not gonna show it to you. Amelia struggles on, through the forest carnivorous, where at one point she encounters a very frightening night predator (one of my owls, turned wraith-like).



Geez, we have so much to do if we want to finish even the segments we’ve begun. Perhaps we’ll find a little spare time amidst next year’s big projects. I kinda hope so.

I’ve just sent it out. The image was made from three of my Sweetie’s childhood drawings, which I color altered, collaged and digitally drew on in Photoshop. I had such fun with this. Do you wanna see what Reidun’s originals look like? Keep scrolling down!


2015 CARDblog








To expand these images and see more detail, click READ FULL ARTICLE, immediately below.

In my previous post, I showed you one of my sister’s lovely woodcuts. Kay has a real affinity for this printmaking process. To watch her work is to witness inventiveness, childlike wonder, sometimes glee, often confusion, and always the determination to see sophisticated ideas through. And lets face it, regardless of how things are going, if you get to carve into something or attack it with a hammer and chisel, you’re gonna have fun!


Two summers ago in Norway (and under Kay’s tutelage), I couldn’t resist trying this for myself. Sure, to begin with I spent some time doing my inky thing (you can see how that went here: http://billloganart.com/drawings/norway/). By the end of our trip though, I was a wood whacking convert. Aside from using real carving tools, it turns out that anything you can scrape across, pound or punch into a wooden plank’s surface might leave a mark worth printing. I got a little carried away, and Kay was probably a bit taken back, but she was also amused. I finished three blocks – my first ever. And here they are printed!


Weedy Bird – variable edition of 10, 9″ x 12″ on a 16′ x 20″ sheet.

At top is the second impression from the edition. It’s almost a straight forward transfer of image, but I was already beginning to sand, scrape and peck into the paper beforehand. I was curious about how much it would effect the printing. It turns out that when you’re hand rubbing, it can add quite a bit of grain and gritty character. By the last impression (at bottom), I was also manipulating the ink on the block before printing by selectively wiping it with a rag and scrapping with steel wool.



Preen – variable edition of 11, 9″ x 12″ on a 16′ x 20″ sheet.

This time I kept the carving simple, leaving a lot of the block’s surface untouched. The reason was that I wanted to see what could be achieved with selective, sensitive inking and rubbing rather than carving. I should explain that printing by hand rubbing means no press is involved. Instead, the block is inked and a sheet of paper is laid on top of it. The ink is then transferred from block to sheet by rubbing the sheet’s back with a smooth object. The tool made specifically for this is called a baren, and it’s a flat, disc-like affair with a handle. Wooden spoons also work well. There’s nothing wrong with using your palm or finger tips too!


In the print at left, you can see that scrapping and pecking the paper before printing resulted in raised scars that picked up more ink. They’re especially evident in the bird’s neck, where they appear as ragged lines and white-haloed black dots. The graduated tones and shading (also very noticeable in the neck and head) were accomplished by carefully altering how much pressure I applied while rubbing. The impression on the right had every trick thrown at it. The paper was really roughed up, and the inked block was again scrapped with steel wool. I even used a brush to paint a few crude feather lines back into the scrapped areas before printing the image.



En Ugle til Reidun (An Owl for Reidun) – variable edition of 20, 9″ x 12″ on a 16′ x 20″ sheet.

I had to do an owl too! My focus this time was to begin exploring the character of my carved marks and lines – and to simply enjoy creating an image in white line on black. It’s not something I get to do when I’m drawing!


The impression at left was a straight forward transfer to an unaltered sheet. Next to it is one from near the end of the edition, which once again has had it’s ink manipulated with steel wool.



To expand these images and see more detail, click READ FULL ARTICLE, immediately below.

It’s been a bit too long since I last wrote. The Boss Elf has me working hard on our Great Secret Christmas Project. Some fine effort has been put in, with a lot more ahead yet, and less than two weeks to go. We’ve had a few real eye openers. I feel like I’ve had a change of brain, if only temporarily. This is quite pleasant.


Since I still can’t show you what we’re doing yet, I’m again glancing back, this time to last Christmas, when Kay (my sis) made a sweet, sweet, sweeeeet woodblock print for Reidun. Honestly, to really capture the charm of it I could quite rightly add even a few more sweet, sweet, sweets!


Here, see for yourself:




These were printed with oil based inks. All the color was applied to the block and printed at once, via hand rubbing. There was a good deal of experimenting, with each impression coming out differently. Some didn’t work. This next one was too boldly colored. Kay was going to scrap it, but she let me mess with it instead. Sadly, I drew the cat that ate her tweety bird!




The woodblock that did the actual printing, still stained with remnant inks, is gorgeous too!




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