Stamp Saturday, on Sunday

I'm planning on getting back to regular Stamp Saturday posts soon, but in the meantime, here's a little bit about some rubber stamp stickers I made recently. 

Everything starts as sketches, of course. In this case, I needed to make some one inch round stickers, so I drew a few pages of one inch circles to doodle in.

Once I picked the designs I liked, I cut the stamps from white rubber erasers (in this case I got them all out of one eraser).

I tested the final stamps with a couple of different stamp pads to see which would work better. Then I stamped them on some sticker paper that I had already letterpress printed a wood grain background on and cut the circles from on my die-cutter.

I ended up with quite a few extra, so I packaged some up for sale. 20 stickers per sheet, three different designs.

Busy, Busy

(This is the second time I've written this post, and I'm stuffed up and groggy, so it's going to be even shorter than the first time (damn you, Blogger for iOS, for dumping my post when I switched to Safari to look up a URL) (yes, I should have saved a draft first, but I really shouldn't have to) (also typing while annoyed) (and too many parentheticals) (I need more cold medication).)

What was I saying? Oh yeah. Busy with craft fair stuff, teaching, and sick, so not posting much until a few weeks hence. There was more detail and better sentence structure, but my ears are starting to ring, which means I need to rest, so I'll leave it at that. Here's a picture of some of what's keeping me busy:

Oh, and this is for the Halifax Crafters spring market, the first weekend of April, at the Olympic Centre. If you're in Halifax, stop by. There's no admission fee, but there is food and chocolate and cool crafts.

Stamp Saturday: A Few Materials to Avoid

Until I test all the various things from my first post, most of which are specifically sold for rubber stamping and/or easy printmaking, I wanted to point out a few materials that might seem like good choices, but are probably best avoided (unless you're going for a specific effect, in which case you may want to experiment anyway).

Linoleum

If you read the other posts on this blog, or follow my Twitter or Instagram (both @anagramforink), you probably know I do a lot of linocuts. So it may seem odd that I'm now telling you not to use it. The thing is, though, lino is great for relief printmaking, but terrible for stamping.

Lino is a lot harder to cut than rubber stamp materials, it'll dull your tools a lot faster (and you *really* need sharp tools to cut it in the first place), and you probably won't be happy with the results unless you're printing on a press or using a hand-printing rub technique. For simple stamping, it's just not soft enough to make a nice clean image.

So, unless you plan to take up printmaking proper, save yourself some aggravation and steer clear of linoleum.

Erasers

One of the things on my list for stamp making materials is white plastic erasers, and they're excellent for rubber stamping. But they're pretty much the only kind of eraser worth spending money on. Personally they're also the only kind I use for erasing, too (except, very occasionally, kneaded rubber).

Most other kinds of erasers are too hard, too crumbly, or too textured to give good results (though, possibly, they might be useful for specific effects if you want to spend a lot of time experimenting). Those horrible pink erasers are among the worst, though different brands have different properties and a few of them might be worth trying if you're in the experimenting mood.

Also, there are some white erasers that are not the good kind -- they're pretty much just white versions of the pink ones, and nearly as bad to work with. They're usually the same shape as the pink ones, and often sold with ink erasers attached to one end.

Some coloured erasers, like novelty kinds, are very similar material to the good white plastic ones and would probably work, so if you find them really cheap it might be worth trying them, but in general I'd just say just get the white ones. You can even find them at the dollar store in a pinch.

Foam

Those sheets of craft foam might be tempting, and so might styrofoam trays and that sort of thing. They certainly could be fun to play with, but won't give very good results for rubber stamps you actually want to keep and re-use.

If you've got any more materials to avoid, or have achieved interesting results with something I said was no good, please feel free to leave a comment and share your results.

Stamp Saturday: Little Prints

I was initially drawn to rubber stamping because it was like printmaking, only smaller, less messy, and less expensive. And the vast array of ink pad colours, not to mention extras like embossing powder and markers for colouring, were appealing to that same part of me that always has the urge to buy more art supplies. (I have ink -- both for fountain pens and for dip pens -- in just about every colour you can think of, just to name one example).

I never did end up buying many stamps. I have a set of Celtic designs given to me as a gift that I use from time to time, but never on something made to sell (or almost never -- I can think of one exception). I think I bought a couple of leaf stamps, and I have a office supply date stamp and a really great set of tiny alphabet stamps that can be set on a plastic holder almost like letterpress type (another gift, and one I have gotten a lot of use out of).

But, like just about any other craft I've tried, there was one thing that kept me from making rubberstamping a significant part of my art/craft making. I took up cross-stitch once, and really enjoyed the meditative aspect, but gave it up soon after. Why? Because I wasn't interested in making someone else's design, and I knew I could like never develop the skills needed to create my own designs without first spending a lot of time working from patterns.

With rubberstamping, though, I soon discovered that it wasn't that difficult to make my own stamps from my own designs. I can't remember where I saw or heard or read about it -- I won't claim it was an original idea, though I suppose it could have been -- but the Internet was relatively young and there wasn't much information to be found. But somewhere, I heard you could cut stamps from white plasitc erasers. So I did it, using an X-acto knife. I think the first thing I ever cut was my original White Raven logo. I still have it.

And though I set stamping aside for a few years while I worked on other things, I eventually came back to it, armed with more knowledge about other forms of printmaking, and with better skills for cutting print blocks that could be put to use cutting stamps, too.

For some people, rubberstamping is one of those scrapbooking crafts that are looked down on as not very original. For me, while I don't want to work from other people's designs, I'm sure as heck not going to look down on someone who isn't interested in making their own. But I see rubberstamping as a kind of small printmaking (though some stamp-making materials come in fairly large sizes and are even sold as printmaking, rather than runnerstamping, elements). And I use it for the same things as I do lino, litho, and intaglio: small art prints and greeting cards, bookmarks, gift tags, and other odds and ends.

The prints tend to be less crisp than printmaking, and I feel they're less precious, but other wise they're no different. The same skills are used to cut your own rubber stamps as to cut any other kind of printmaking surface (though rubber is rather easier to cut than lino, wood, or copper). 

Stamp Saturday: Tools

This series is about cutting your own rubber stamps, and I'm planning to test a whole bunch of different materials that are available for that purpose. If you missed the first Stamp Saturday post, which covered all (or most) of the materials I'll be covering, you can find it here.

Because I look at rubber stamping as a type of printmaking (more on that next week, probably), I tend to use a lot of the same tools I use for other relief printmaking processes. In other words, the same tools I use for linocutting.

My earliest rubber stamps, which I cut from white plastic erasers something like fifteen years ago (back in the days when Staedtler still made erasers in an extra-large size), were cut using an X-acto knife. I didn't really know what I was doing, even though I had done a small amount of linocutting before. They turned out surprisingly well, considering how difficult it is to cut efficiently and neatly with a simple knife. I'll have more on how to cut with different tools a few posts from now, so don't worry if all you have is a knife. It's possible to use one much better than I did back then.

These days, while I still keep my X-acto handy for trimming edges, I do most of my cutting with lino tools. When I cut actual lino, I generally use woodcarving tools rather than the tools sold as lino tools. For not that much more money, you can get a decent set of Japanese wood carving tools that will last a lot longer, and which can be easily sharpened with a stone. I got this set from Lee Valley Tools here in Canada. 

They also sell a set with clear acrylic handles that I've heard very good things about, and that I'm tempted to buy as designated stamp cutting tools (I like to keep my tools separate as it cuts down on re-sharpening). I also have a couple of sets of those cheap Speedball lino cutters with replaceable blades that I bought to have as backup when I'm teaching. While they're not that great for actual linocutting -- they dull too quickly and don't re-sharpen as well as real woodcutting tools -- for stamp cutting, they're actually not too bad. Rubber stamp materials aren't nearly as hard as lino, so the tools don't dull as quickly, so once you get them properly sharp, they'll stay that way for a long time.

I do most of my cutting with the small v-gouge, which I find has the best shape for a good, stable cut. The small u-gouge is good if you have a lot of curves to cut (I find the u cuts curves better, though the v is fine, too), but the shape of the cut gives less support to the printing surface. I'll get into that more when I talk about cutting technique, but for now I'll just say that if you only buy a single tool, make it a small v-gouge. Larger tools are good for clearing out large blank areas and cleaning up edges, but the v is best for basic shapes and detail.

If you plan to do a lot of cutting, and get yourself a decent set of tools, you'll probably want to invest in some sharpening tools, too. For frequent use, a strop may be all you need, though it's not something a lot of people aside from woodcarvers have on hand. Lee Valley sells a two-sided strop -- put dressing on one side, and leave the other side clean, and run your tools over it from time to time as you go. Since rubber stamp materials are quite soft, it may be all you ever need if your tools are sharp enough out of the package.

If you're not sure about a strop, or don't think you know how to use one (and they are a little awkward to use on a carving tool when compared to how easy they are to use with a knife), then a fine sharpening stone is your best bet. I have a little stone I got as a gift that has fine on one side and medium on the other, and covers most of my sharpening needs. Chances are, you won't need anything coarser than that for rubber cutting. If you do lino and are hard on your tools, a coarse stone might be a good investment. 

Next week, I'm going to backtrack a bit and write what probably should have been the first post in this series: a sort of introduction and my thoughts on the whys and who cares of rubber stamping. The week after, I'll probably begin on technique.

Stamp Saturday: Materials

I'm going to try adding a second weekly post here. We'll see how I can keep up with it. Stamp Saturday is going to be notes and thoughts on a project I'm working on, to write a book on carving your own rubber stamps. It came about because I was looking to buy such a book, and the only ones I could find were either out of print (and fetching ridiculous prices on the collector's market), or had only small sections about how to make the stamps with the rest of the book taken up by projects.

There are, I think, plenty of great books already for people who want ideas of what to make once they have some stamps (and you can make the same projects with store bought stamps as you can with hand-carved ones) -- I'm more interested in the technical details of creating my own designs. So I'm going to be doing a lot of testing and experimenting, which will be the raw material for a book to share what I learn.

To get started, I pretty much ordered one of every kind of material that seemed suitable from Dick Blick Art Materials (because they have a pretty good selection, and decent prices/shipping). And I had a few things already on hand (one of which, I just realized, I left out of my photo).

The list so far:

• Blick EZ Cut
• Speedball Speedy Carve
• Moo Carve
• Inovart Eco Karve
• Inovart Smooth Cut
• Richeson Clear Carve Linoleum
• Speedball Speedy Cut Easy
• Soft Kut
• Speedball Speedy Cut
• white plastic eraser
• black rubber mat

The black rubber mat is actually sold as a non-slip surface protector for cutting lino on, but I thought I'd try cutting it as a stamp just to see how it would work. It looks like there may be a few new things at Blick that they didn't have when I ordered, so I'll probably update the list eventually.

What I will not be using (though I use it for printmaking) is linoleum. It makes an excellent relief printing surface, and I love working with it, but it's not nearly soft enough for rubber stamping. (And the Richeson Clear Carve in the list above, while called "linoleum," isn't really, so I'm going to try it). I'm also not going to use foam printing elements because while they're fun, they're too soft to produce good results, and don't stand up to heavy use.

My initial tests will simply be how well these materials cut. Then I'll compare how well they take ink (and what kinds of ink), and how well they print when used as a rubber stamp (rather than in a press like a printing plate). I'll also try them with and without a layer of foam (it adds give and can make harder materials print better in some cases).

Over time, I'll keep track of how well the materials last, and I may save some of the bits trimmed off so I can try leaving them out in the sun, leaving them in a damp area, and that sort of thing.

Pay-What-You-Want Relief and Letterpress Prints

For more info on why I'm having this huge sale and how it works, please see this post.

The prints in this post are all relief prints -- mostly linocut -- and/or letterpress prints. All of the type was printed from hand-set vintage wood and metal type and the printing was done by hand on vintage presses. Many of these pieces in this batch were not editioned, and for some of them, the images may be re-used at a later date, however, none will be re-rrinted again in quite the same way, so you will be getting something original (and probably one-of-a-kind)

William Morris Wanted Poster

printed from vintage wood type and a lino block hand-cut by me
15 inches wide by 22 inches high, printed on 100% rag textweight paper made by St Armand
edition of 25, plus 2 shop proofs and 3 artist's proofs, signed, numbered, and dated on the front
3 left (numbers 11 and 13, and one proof) -- the numbered prints are slightly crinkled and bent on the corners, and one has tape damage on the back that does not affect the print)
original retail $35
I actually thought I had sold out on these, but found a few while organizing my prints for this sale

Kitsune Kage -- Fox Shadow

 6-colour linocut reduction print (all 6 colours printed from the same lino block, removing material for each subsequent colour)
15 inches wide by 12 inches high, printed on thin Japanese paper
edition of 12, signed, numbered, and dated on the front
8 left (numbers 2, 4, 5, 8, 9, 10, 11, and 12)
original retail $85

Foxfire

1-colour linocut
12.5 inches wide by 19.4 inches high, printed on Annigoni printmaking paper (rag with subtle wool inclusions)
edition of 7, signed, numbered, and dated on the front
1 left (number 5); I also have two proofs printed on lightweight plain white paper, slightly smaller than the edition
original retail $45

Bran Mor

4-colour multi-plate linocut
15.5 inches wide by 11 inches high, printed on thin Japanese paper
edition of 10 + 2 proofs, signed, numbered, and dated on the front
9 left + one proof (numbers 1, 3, 4, 5, 6, 7, 8, 9, and 10)
original retail $65

Fish Riddle

1-colour linocut with hand-set metal type and ornaments
8.5 inches wide by 12 inches high, printed on cardstock
edition of 3 on white and 3 on green, signed, numbered, and dated on the front
2 left (numbers 2, and 3 on green -- NO white left)
original retail $40

White Lino/White Rhino

1-colour linocut
12 inches wide by 16 inches high, printed 100% rag printmaking paper
edition of 5, signed, numbered, and dated on the front
3 left (numbers 2, 4, and 5)
original retail $35

Dragon

1-colour linocut
15 inches wide by 11 inches high, printed on 100% rag printmaking paper in purple ink
not editioned, but I printed 3 proofs in this colour, signed, numbered, and dated on the front
2 left (will probably be re-printed, but definitely not in this colour)
original retail $45



Some of my best friends are Books Poster

linocut with vintage wood type
19 inches wide by 9 inches high, printed on card stock
not editioned but I printed about a dozen (and will not be re-printing, though I may use the book image again), signed, and dated on the front
7 left
original retail $12

LivEviL version 2

vintage wood type, 2 layers joined with eyelets
11 inches wide by 17 inches high, printed on handmade paper with flower inclusions, with an acetate overlay
edition of 3, signed, numbered, and dated on the front
1 left (number 2)

Scarab

1-colour linocut
8 inches wide by 5 inches high, printed on handmade paper made by me from goldenrod
not editioned, but I printed half a dozen proofs, signed, and dated on the front (I have also used this image to print greeting cards and may use it again, but not on this paper)
4 left
original retail $6

Spring Peepers

1-colour linocut from two separate blocks printed simultaneously
8 inches wide by 5 inches high, printed on handmade paper made by me from recycled rag paper
not editioned, but I printed half a dozen proofs, signed, and dated on the front (I have also used this image to print greeting cards and may use it again, but not on this paper)
4 left on the paper shown, plus on eon the same paper as the Scarab above
original retail $6

Here There Be Dragons Dragonfly

linocut with hand-set vintage wood and metal type
5 inches wide by 8 inches high, printed on handmade paper made by me from recycled rag paper
not editioned, but I printed half a dozen proofs, signed, and dated on the front (I have also used this image to print notebook covers and may use it again, but not on this paper)
10 left
original retail $10

Specimen 1 Nautilus Mini-Print

relief print with faux plate indentation
3 inches wide by 5.5 inches high, printed on 100% rag watercolour paper
edition of 9, signed, numbered, and dated on the front (I have also used this image to print notebook covers and may use it again, but not on this paper or as an editioned print)
4 left (numbers 4, 7, 8, and 9)
original retail $5

Satyr Boy

3-colour linocut, all colours printed simultaneously
15.5 inches wide by 38 inches high (could be trimmed quite a bit smaller), printed on Japanese paper with botanical inclusions
edition of 7, signed, numbered, and dated on the front
6 left (numbers 2, 3, 4, 5, 6, and 7 -- but I can only locate numbers 2 and 3) plus a proof on kozuke paper (smaller size than the edition)
original retail $75
I debated even including this print in the sale, since I've never actually had it for sale anywhere, but it's been hanging around the studio for so long I decided I might as well

Two Prints On Sale, But Not Pay-What-You-Want

I also have two newer prints that I'm not including in the pay-what-you-want sale, but which I am discounting for a short time.

They are a three-colour linocut based on my Winter Raven greeting card (but re-cut in lino), printed on 100% rag printmaking paper at 22 inches wide by 10 inches high, in an edition of 8. I have 3 left (4, 5, and 6) plus three proofs that have minor smudges on them. Retail on these was $75, but I'm marking them down to $45 for the sale.

And the second one is the Dodo from my Vanishing Bestiary Series, a one-colour lino printed on 100% rag printmaking paper at 11 inches high by 15 inches wide in an edition of 8. I have 7 left (numbers 2, 3, 4, 5, 6, 7, and 8). Retail on these was $45, but for the sale I'm marking them down to $25.

Next up: artist's books and blank notebooks.

Pay-What-You-Want Intaglio Prints -- Batch 2

For details on this sale, please see this post.

This is the second batch of intaglio prints, all hand-pulled from copper or zinc plates. In this batch, there are few one-off trial proofs as well as the last few left from some editions.

Anthropophagus Octopus

line etching, engraving, and mezzotint, hand-coloured with watercolours
4 inches wide by 7 inches high on 100% rag printmaking paper
edition of 4, signed, numbered and dated on the front
1 left (number 3)
original retail $40

Kraken Squid

line etching, engraving, and mezzotint, hand-coloured with watercolours
4 inches wide by 7 inches high on 100% rag printmaking paper
edition of 4, signed, numbered and dated on the front
1 left (number 3)
original retail $40

Leviathan Anglerfish

line etching, engraving, and mezzotint, hand-coloured with watercolours
4 inches wide by 7 inches high on 100% rag printmaking paper
edition of 4, signed, numbered and dated on the front
1 left (number 3)
original retail $40

Sickle-Head Shark

line etching, engraving, and mezzotint, hand-coloured with watercolours
4 inches wide by 7 inches high on 100% rag printmaking paper
edition of 4, signed, numbered and dated on the front
2 left (numbers 3 and 4)
original retail $40

Steampunk Fishes

multi-plate intaglio print (2 plates each for 6 images), line etching, engraving, aquatint, and mezzotint
4 inches wide by 7 inches high on 100% rag printmaking paper
brown ink on cream paper
not really editioned as I was intending to do more work to them before selling, but there are 3 and I will sign and date any that sell
3 left
this is the last chance to get the whole set of images -- they can easily be cut into individual images for separate framing if you prefer, but I'm not going to divide them up at this point


Kiwa Hirsuta

single-plate line etching and aquatint
9 inches wide by 15 inches high on 100% rag textweight paper made by St Armand
edition of 3, signed, numbered and dated on the front
2 left (numbers 2 and 3)
original retail $35

FS DaVinci Mark III Proofs

line etching
7.5 inches wide by 9 inches high on assorted text weight paper
not editioned, but was one of the plates in the FS deVinci multi-plate print
2 left (I may re-print this at some point, but not on the papers used here)

Stay tuned; relief and letterpress prints are up next.

Pay-What-You-Want Intaglio Prints -- Batch 1

For details on how this sale works, please see my previous post. The short version is, I need cash quick, so I'm having a sale. If you want something, leave a comment. You pay shipping and whatever else you want above that, and I send you prints. (Local folks have the option of pick-up instead of shipping.)

 The prints in this post are all hand-pulled intaglio prints. There are etchings, engravings, aquatints, and mixes several processes. Most were printed from copper plates, though a few were zinc plates, and one was a copper plate with a polymer coating. Most of them were worked entirely by hand. One -- the moths -- was made via a photo-polymer process from my own drawings and vintage images. Part of the multi-plate jellyfish was photocopy transfer resist on copper.

Many of these prints are limited edition and will never be reprinted. The ones marked "proof" were not editioned, and while a few of them may eventually be editioned, most of them probably won't be. I'll mention in the notes whether or not they may someday be re-printed.

Variations on a Sea Jelly

3-plate intaglio print with a la poupée colour on the largest plate
one plate is line etching (the smallest), one was made by photocopy transfer resist from the old natural history images of Ernst Haeckel (the mid-size one), and one is line etching with aquatint (the largest)
20 inches wide by 15 inches high on 100% rag printmaking paper, with the smaller plates on Japanese kozuke paper, printed and pasted on simultaneously with printing the large plate
edition of 6, signed, numbered, and dated on the back
4 left (numbers 2, 3, 5, and 6)
original retail $120

Sea Jelly Experimental Proofs

single-plate line etching with aquatint
printed in white ink with colours added a la poupée (added to the plate and wiped after the main colour is put on)
15 inches wide by 20 inches tall on 100% rag printmaking paper
varied edition of 4, signed, numbered, and dated on the front
2 left (numbers 2 and 4) -- number 2 is nearly all white with just a slight touch of yellow, number 4 has quite of bit of magenta, yellow, and blue

Fig 9 Sea Jelly Proof

single-plate line etching
3 inches wide by 6 inches tall on 100% rag paper (some on print akin and some of text weight)
not editioned (but the plate was used in Variations on a Sea Jelly, above) I may re-print this in future
2 left (the printing is not as bright or clear as the example shown, nor is the image signed as on this one -- it will be signed on the bottom instead) -- one on textweight paper, one on rag (the one on rag is a better impression)
original retail $15

FS daVinci

3-plate intaglio print (two plates are two-colour wipe-and-roll), plus the artist's thumbprint
two plates are copper line etchings, and one (the squid) is a zinc engraving
15 inches wide by 10.5 inches high on 100% rag printmaking paper
varied edition of 8 (variations are minor), signed, numbered, and dated on the front
8 left
original retail $50

Figure 1: Book Mimicry in Moths found in the Laputa Pansophic University Library

single-plate etching, made on a copper plate coated with photosensitive polymer (the moth drawings are my own, while the text is from historical books), paper tea-stained on the edges and razor-cut on one side to simulate a book page
10 inches wide by 7.5 inches high on 100% printmaking rag paper
edition of 10, signed, numbered, and dated on the back
5 left (numbers 5, 6, 8, 9, and 10)
original retail $45

The Beak of Finch, Esq.

single-plate intaglio with line etching, aquatint and drypoint
10 inches wide by about 14 inches high on 100% printmaking rag paper
not editioned (I printed three or four and may re-print at some later date), but signed and dated on the front
1 left
original retail $45

Gears & Steam

single-plate intaglio with line etching, aquatint, drypoint, and spit bite
10 inches wide by about 14 inches high on 100% printmaking rag paper
not editioned (I printed three and will not be re-printing), but signed and dated on the front
2 left
original retail $45

Liminal

single-plate intaglio with line etching, aquatint and drypoint
10 inches wide by about 14 inches high on 100% printmaking rag paper
not editioned (I printed three and will not be re-printing -- the plate has been physically destroyed), but signed and dated on the front
1 left
original retail $45

Interstitial

single-plate intaglio with line etching, aquatint, drypoint, burnishing, and deep-bite etching
this was creating by altering the plate from Liminal, above
10 inches wide by about 14 inches high on 100% printmaking rag paper
not editioned (I printed three and will not re-print -- the plate has been destroyed), but signed and dated on the front
2 left (one in black ink as shown, and one in dark green ink)
original retail $45

I have a few more intalio prints left to post, but I have to find them and photograph them first, so watch for those, and the relief/letterpress prints and other stuff tomorrow.

Pay-What-You Want Lithographs

For details on how this sale works, please see my previous post. The short version is, I need cash quick, so I'm having a sale. If you want something, leave a comment. You pay shipping and whatever else you want above that, and I send you prints. (Local folks have the option of pick-up instead of shipping.)

The prints in this post are all hand-pulled lithographs. Some are stone lithos, and others are from aluminum plates. All of them are limited edition and will never be reprinted. Intaglio, relief, and letterpress will be posted in separate posts, as will artist's books and blank journals, jewellery, and a few other things.

The Evolution of Flight

5- colour hand-pulled lithograph (3 colour stone reduction plus 2 aluminum plates)
15 inches wide by 20 inches high on 100% rag printmaking paper
edition of 11, signed, numbered, and dated on the back
8 left (numbers 1, 3, 4, 5, 8, 9, 10, and 11 if you have a preference)
original retail $120

Pterothopter Mk I

3-colour hand-pulled lithograph (2 colour stone reduction plus 1 aluminum plate)
20 inches wide by 15 inches high on 100%rag printmaking paper
edition of 4, signed, numbered, and dated on the front
4 left (numbers 1, 2, 3, and 4)
original retail $120
I also have one trial proof of just the black layer (complete with typo)

Lament for Lost Lenore, State I

hand-pulled stone lithograph
10.5 inches wide by 8 inches high on 100% rag printmaking paper
edition of 6, singed, numbered, and dated on the front
3 left (numbers 4, 5, and 6)
original retail $35

Lament for Lost Lenore, State II

hand-pulled stone lithograph
10.5 inches wide by 8 inches high on 100% rag printmaking paper
edition of 10, singed, numbered, and dated on the front
7 left (numbers 4, 5, 6, 7, 8, 9, and 10)
original retail $35

Lament for Lost Lenore, State III

hand-pulled stone lithograph
10.5 inches wide by 8 inches high on 100% rag printmaking paper
edition of 10, singed, numbered, and dated on the front
7 left (numbers 4, 5, 6, 7, 8, 9, and 10)
original retail $35
Note: the yellowish colour is glare from my lousy photography. The image is actually just black on white.

Quoth

hand-pulled stone lithograph
10.5 inches wide by 8 inches high on 100% rag printmaking paper
edition of 3, singed, numbered, and dated on the front
none left, but I do have 2 proofs on lightweight Mayfair drawing paper (one has a slightly bent corner)
original retail $35

Nevermore

hand-pulled stone lithograph
10.5 inches wide by 8 inches high on 100% rag printmaking paper
edition of 7, singed, numbered, and dated on the front
3 left (numbers 5, 6, and 7), I also have one proof on lightweight Mayfair drawing paper
original retail $35

Check back shortly for more prints.