A series of six prints on thick A2 cotton paper selected from
Gallery — Earth Crosses
The Earth Crosses images are a series that began as my Thousand Sketches project ended. The last image of the 1000 was #1000 Departing Force and it is part of this exhibition.
The images are a dialogue between the horizontal and the vertical. Opposites. All the images in the series are square. The vertical, perhaps the landscape, has as much space as the horizontal, perhaps the portrait aspect. Think dialectics, yin yang. I expect I’ll get to elaborate on the opening night. (Date TBA)
Done on the iPad, in layers and tweaked in Photoshop.
Text for Administrator 1/25 Wednesday, August 18, 2010 Sold to Brian Pauling $50 a3
Sunday, August 22, 2010 A3 – Hahnemuhle Duo using the MK note 3800 !!! profile, Perceptual Black Comp unticked – see the AP1 with error printed on back. Too pixelated IMO But is seems the best solution tried later with the 2400 profile and it was not as good! Tried it again using tif 4 3800 !!! profile, Perceptual Black Comp unticked Nah A4 Hahnemuhle Museum Etch using the me profile and setting above – colours not right – AP2 – blacks went splotchy ap3 perceptual checked the Black Comp – nothing helped muchAnother major development, led to
Saved as a psd file with layers – on photo-rag duo here:
D:\Art – Photos Sketches\iPad-saved-2010-08 and also in the art blog: http://walterlogeman.com/art/mages/2010/shades-night.psd
Printed as 1/25
Details in the snip
Made a new version for the web as well: here is the old one:
Sunday, March 27, 2011
All the images are now in ZenPhoto here. http://walterlogeman.com/art/zenphoto/art/digital-sketches-2010/shades-night/ There psd files there that don’t show up in ZenPhoto but may be of use.
#0926 Urban Rhythm
This is sketch number 0926 in my Thousand Sketches project (2006-7) I stumbled upon it today on my Bio Page and I liked it a lot, (often I don’t like work years later, though at the time my latest is always my favourite) It’s has that calligraphic touch, it name suits: Urban Rhythm. I now include it in the current calligraphic series.
It is for sale on Felt, its been in several small exhibitions.
Text for administrators
1/25 an a3+ I have it in one of the folders
August 1, 2010 (aprox) Sold on felt for $95 A3
I like these images, I like the idea of using old books.
I like beeswax.
I want to make prins that have something of this feel.
I will put this whole post on my psyberspace blog because it has the Imago word, an in depth approach to the co-unconscious in relationships.
These assemblages are made
made from the covers of used
books. I seek out those that
bring their own history –
inscriptions, notations, signs
signs of wear and amateur
mending – poignant glimpses
into the previous owners’ lives.
When dipped into melted
beeswax, the papers become
translucent, and unexpected
details emerge. Sometimes
the paper on the inside covers
tear in a way that suggests
landscape, and I add to these
readymade images, painting
the moon in various phases
and hand-lettering appropriate
words from a Latin dictionary.
On some, I add tiny diamonds,
to suggest stars or lights.
Feel free to post this image anywhere you think it may belong. I’d like a link back of course.
In a Limited Edition of digital prints can some be landscape and others square? Is it wrong to meddle with the original file if it is still used to print more in that edition?
There is no right or wrong here, who would decide? I have two principles I adhere to:
The purchaser has a say. If I have a square one and a landscape version, there is a choice. A purchaser may also have a choice about the size, why not? It is not all democracy. Some prints I just like one way, and I won’t sign what I am not happy to sign.
Now here is an hypothetical situation, one that is possible. Someone owns a print of mine from say a year or two ago, and sees it on my site in a form that they like better… relationship! Talk to me. I may print another one, or replace the old one.
Editions are what they say they are: usually limited to 25. I stick to that. I will never sell a print below the price of the last one sold in the edition. Prints in the editions may vary a little, one from the other. For one, I sign them on the date I print them, to honour the fact that each print is an actual work, the file is just a file.
You may also be interested in my copyright notice
I have heard that traditionally the square format is meant to be hard to compose. Maybe. I am working on my new Gallery, and for some reason I want all images to be square. Not just in the Gallery, I think it began with the prints. I wonder how long this itch will take to scratch?
The Gallery has images from Thousand Sketches and also new ones. Wherever they have been shown before, in whatever format, now they are also square.
What do you think?
I am slowly finding more artists who do digital work that impresses me. Lisa Rivas is one. Mud Pie e-stamps for the WWW
This is one of my favourites, it looks good and it is a really quirky collectible concept!
I have just put this one up for auction on Trade Me. Have a look, it is the first in the edition and it begins at a low starting price.
The other similar one is there too, they make a pair.
I have removed the g word (giclÃ©e) from my vocabulary. Initially it seemed nice to have a word for what I do, but it has come to sound cheap & pretentious.
Print is a great word, fits. Etymology: Middle English prente, from Anglo-French, from preint, prient, past participle of priendre to press, from Latin premere
But there is a problem.
Print is associated with reproductions. My prints are productions. There is no original, other than the file on my disk, not even as visible as a photo’s negative. Once you see it, even online, it is a production!
I still call them prints, and even though they come in editions each one is an original!
(PS my title for this is post is not original, I saw it somewhere before, and it is around all over the net, a cligÃ©e)