Earth Crosses — Prints at Grater Goods coming up!

earth crosss postcard-vl1

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)

Shades of Night

Done on the iPad, in layers and tweaked in Photoshop.

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Text for Administrator 1/25 Wednesday, August 18, 2010 Sold to Brian Pauling $50 a3


Printing Notes


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


BEST
Saved as a psd file with layers – on photo-rag duo here:
D:Art – Photos SketchesiPad-saved-2010-08 and also in the art blog: http://walterlogeman.com/art/mages/2010/shades-night.psd

Printed as 1/25

http://walterlogeman.com/art/images/2010/shades-night.psd

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.

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Urban Rhythm

#0926 Urban Rhythm
Larger Image.

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.

image felt art for sale site

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1/25 an a3+ I have it in one of the folders

August 1, 2010 (aprox) Sold on felt for $95 A3


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Limited Editions – in the digital world

Question:
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?

Answer:
There is no right or wrong here, who would decide? I have two principles I adhere to:

1. Relationship!

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.

2. Trust.
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

Square

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?

Art works formerly known as prints

I have removed the g word (giclée) 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 cligée)

Prints for sale

If you enjoy browsing here, watching me grapple with my art process, make new work most days, consider buying a print! The images, even though they are made digitally really come into their own on good quality archival paper in pigment inks.

I am sure you will be delighted when you see an image you like online presented as a high quality, signed print. My hope is too that you will experience a sense of participation, to have a connection with an unfolding process.

Ready for more information and prices?

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Some of my editions are available exclusive from galleries or other sites.

Have a look here on Felt, a rather wonderful New Zealand Art & craft site:

image felt art for sale site

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I am proud to have a selection of editions selling in the Allen Gallery in Chelsea New York:

Editions of these Prints are available exclusively at the Allen Gallery
image

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Questions? Send me an email.walter@psybernet.co.nz

I am working on an exhibition in Christchurch later this year, so watch this space!

Some of my prints are for sale on Felt

image felt art for sale site

I have some prints for sale on the up and coming, rather wonderful New Zealand website FELT. An online shop & Gallery that specialises in hand made arts. I selected these as they are diverse , fresh, and because I think they have a personal touch in their line, my hand is in them.

Here is one from my Thousand Sketches, click on it to see the others I have there. There are five in all so far. The editions of 25 are exclusive to Felt.

 

#0939 Pear Lemon Apple
Felt

Dame Edna – Barry Humphries – Art Online

This is innovative!

Barry Humphries will go head to head with his alter ego, Dame Edna Everage, tomorrow in a public battle for artistic appreciation. The 73-year-old Australian star, who is recovering from peritonitis that almost killed him earlier this month, has decided to go ahead with the launch of his innovative online art gallery. Humphries has painted seriously since his teens and has agreed to be at the centre of a new art project that will allow internet users not just to download his work for free, but to alter it.

Free paintings and the right to alter them. I wonder if you can also sell them on!

I am interested as my own copyright is loose, but more restricted.

There is one difference, he has the original, in the case of my digitals you can access the actual original. (ask me for the URL)

I am looking forward to seeing these, when I find them I will make another post.

Landscapes

North Canterbury
Larger Image.

A new project. Landscapes. Unsure as ever but need to follow this. As in the Earth Crosses the starting point is Thousand Sketches. One or two are coming straight over as part of the new series, but mostly I am redoing old ones and making new ones. I want to find about a dozen I like.

Some new aspects I am noticing. The calligraphic lines, all of them in this series. while digital, will have this, I am pursuing this. The other new thing is that I will use these sketches to make oils. I will post them as I do them but on the whole I’d like to present a selected set of them, digital images and corresponding oils.

What I like is that via the blog the unity of the work is maintained. These images can “phone home”.

I wrote this to a friend who commented on my work:

“The whole cyberspace side of it is important to me, I think it will impact art more and more. The objects, even when one off and in paint etc, can have a ‘virtual life’ as well, they can forever be linked to the artists words and to other items in the project or series… books & letters did it occasionally, but it was complex, hit and miss. I think it is a significant step in this era. So I am glad you noticed that aspect of the work.”

Hand Made

I listen occasionally to Brooks Jensen’s short podcasts on photography, they often apply to all art and creativity, he is a thoughtful man. The Lenswork publication is beautiful. The website is beautiful. He has a great piece about printing images, all of which I fully concur with.

Here is the full archive: LensWork Recent Podcasts

I just listened to this one: LW0405: Considering Content, Considering Medium

It talks about the presence of the hand of the artist. So that is right on topic with the stuff I was looking at re Walter Benjamin recently. The useful point he makes is that some art is more hand-dependent than others, I am not sure if that is his word or not. Painting is at one extreme, and photography on the other.

Which makes images that are made by hand, but digital an interesting case in point. The hand is more there in the file, but when it comes to reproduction it is much like a photo.

My sketches work quite well if they are just printed on some machine in a store, but they loose a lot. The prints I make are another whole story, it has taken me a long time to perfect my technique, and there are rejects as I learn. I have found better paper, and I now have better mastery over the software, ie the colour.

So when I sign a print it means I am satisfied it is as good as I can do it.

The great masters of the darkroom probably have a strong hand in the work as well. Look at this by Sally Mann for instance.

There are a few twists to this reflection…

One is that my printing of the images influences what I make when I make digital images. In some deep way where medium is the muse, but I will tweak an image to make it work well as a print, and then the final version is posted on the net. This means it works well on my combination of screen, software, hardware paper & ink. That will be hard to replicate ever again! (I can’t always do it!)

When I do sign something that is 100% hand-dependent.

The other thought I had is that somewhere, sometime, someone and they may have already done it for all I know one of my images is presented in a way that is just wonderful. My hand, their craft.