I found this softened piece of glass bottle on the beach this week. All that’s legible is the word “RETURN.” At a time when I need to do just that – return to myself, this finding couldn’t have been more appropriate. (A message from the Universe, no doubt.) I’ve been meditating on what “return” means to me the last few days. The haiku “From Within” is my first reflection (reposting below). I’m happily using this experience as a way to get back into writing.
I’m slowly recovering from a nasty cold/flu and with that means my mind is foggy with little room to write or make art. I also just turned 30 on Sunday! And with that, I suppose, I’m mulling over the aspects of myself that I have nurtured… Specifically, my creativity. So, I had the idea of starting a “fill in the blank” series of what it means to me to be creative! I would love to hear what it means to you! Here’s my initial thought:
I’ve written a children’s picture book! It’s a project I feel incredibly passionate about. I’m mulling over marketing ideas and gearing up for publishing it myself.
And now, with the new year, my inbox is starting to gather images from the illustrator I’m hiring! This alone has me beyond excited and even a bit emotional – my girl empowering, haiku inspired story is coming to life.
And just as I began receiving first sketches, this arrived in the mail… I realize it’s not wholly necessary these days, but it’s fun to have a proper Copyright registration number!
This August I went through a bit of a rut. I felt my writing had become blocked and a specific writing project had me feeling disappointed and upset (more on that soon!). Much has progressed since then!
I am incredibly excited to share photos of my fine art prints, framed and on exhibit at a fabulous boutique, Lynn Stoller Collection, in Westhampton Beach, NY (the Hamptons).
When you work on a matrix for printmaking, the general rule is to pull an impression every time you make a change to the plate. Even if you only add a line, for instance, it’s generally important to ink the plate, wipe it and run it through the press to see how it looks. Certainly makes sense. Granted, I personally, didn’t always do that! For this particular piece, I may have skipped that step once or twice. I wanted the surprises and I wanted the processes behind drypoint, etching and aquatinting to guide me on their own.
When going back through these impressions however, I found it exciting to see the progression. And what’s even more exciting, in my opinion, is that each of these states is completely unique since I can’t go back to it! The zinc plate has been forever changed.
*Since this post, I’ve changed the name of my kidswear line to simply “Elizabeth Lorayne kids wear” and opened an Etsy Shop! Just below are three samples of my designs and orignal artwork:
Elizabeth Lorayne kids wear: “Purring Fox” original design
Elizabeth Lorayne kids wear: “Growling Sprite” original design
Elizabeth Lorayne kids wear: “Pink Wings” linocut
Original Post:
I’m working on designs for baby onesies and, later, toddler t-shirts. I’m really excited. The process has totally reinvigorated my creativity. The name of the kids clothing line is “lizzy + bobby,” which were my husband’s and my nicknames as children. I’m sharing below logo ideas (will also be the tag) along with the two designs I have so far (to help you get a sense of the style). I could really use input from readers! Thank you!
“Reflecting on Home in Lavender” 2011. 8″x10″ etching with chine-collé
“Who could be so lucky? Who comes to a lake for water and sees the reflection of the moon.” Rumi
Feeling grateful this evening and moved by the above quote. What a wonderful way to appreciate the gifts of Nature.
I created the original etching and aquatint, “Home” in my first printmaking course at Parsons School of Design as an undergraduate in 2006. I don’t currently have a photo of that version (but will in the near future). When I enrolled as a not for credit student in 2011, I felt inspired to apply some of my decorative papers through the process of chine-collé. I have two variations: “green” and “lavender.” A part of me feels the “lavender” version is too busy. I like seeing the faint winged creatures in the “green” impression. Do you have a preference?
“Reflecting on Home in Green” 2011. 8″x10″ etching and chine-collé
A portion of my mile and half walk to Parsons School of Design (part of my alma mater, The New School in New York City) in Union Square was through Madison Square Park. I loved winding through this park, early Saturday mornings, schlepping my printmaking supplies, while listening to my music. Quite often I would cross paths with a very furry white dog. At first, I didn’t make much of it, as there is a little dog run in this park. But as I kept seeing this white dog and other similar white beasts, I found myself recalling a dream I had as a child:
A white wolf seemingly beckoned to me. It was not in a friendly, warm way. I remember clearly his fangs. Yet, I knew not to be fearful. He paced in front of our white garage, waiting for me to exit our house and follow him. I will never forget the white wolf.
And thus, I became inspired to create a wolf-like collagraph. It would be my second attempt at an organic, uniquely shaped collagraph plate (therefore not just a 9″x12″ rectangle, for instance) The first unusual collagraph plate was my cut out tree (see below. More on that another time!).
“First Tree” 2011. 22″x30″ collagraph
I felt incredibly excited to work on my idea. One night, shorty after falling asleep, I lightly stirred, partially awaking with the vision of adding a wing to the wolf. I rolled over, embracing the winged wolf and eventually fell back to seep. I set out as soon as I could to begin creating these collagraph plates.
“Fox in Flight” original close up. 2011. 22″x30″ collagraph
As seen in these two photos, my first impression of “Fox in Flight” went fine enough. He was actually a bit difficult to ink. I used various sized wood blocks, wrapped with masking tape (sticky side up) to help keep him in place as I both inked and wiped him. Unlike inking and wiping a “heavy” zinc or copper plate, my collagraph plates are rather light therefore, without mounting them, I wouldn’t have been able to prepare them for the press. The process itself of inking and wiping the plate always felt invigorating and very personal. I often felt as though I was truly bonding with the plate, learning how much ink to smooth on and which areas would need extra attention while wiping the ink. It was quite meditative and I always appreciated my instructor playing Classical music in the background.
“Fox in Flight” (Original close up) 2011. 22″x30″ collagraph
I was happy with the initial impression, but felt he needed some reworking. I trekked home with the fresh impression and my plates, to tackle adding more textures to my wolf inspired beast.
I realize this piece was based on my calling from a white wolf, yet I’d named it “Fox in Flight.” Well, he just ended up looking more like a fox. Looking back, maybe it was disrespectful of me, but I now feel it only gives me the opportunity to make more wolf inspired art. Because I do very much still feel a need to do just that.
On a walk with my, then 5 month old daughter, we passed by some native grasses that I particularly love. I find their oatmeal and evergreen coloring beautiful. I enjoy the way they sway and flap, sometimes in unison and sometimes in opposition. I wholeheartedly understand their healthiness in more direct sun than the pitiful section to the left, under the trees – beloved trees.
I just love these grasses and find them elegant and inspiring. This linocut, “Winged Leaves,” is an ode to them! I look forward to their bountiful return.
This collagraph seemed befitting for Valentine’s Day! It’s based on my beloved Abyssinian cat, Fuzzbie.
“Love Cat” 2011. 22″x30″ collagraph.
I particularly love her profile, which inspired me to create a collagraph. After weeding through the 100 or so photos of her, I finally chose one (see below).
Fuzzbie, my Abyssinian cat
I emailed it to a local Staples Copy & Print Shop to be printed quite large. I taped tracing paper over it to transfer her image to the black matboard I used as the base for my collagraph plate. I proceeded to very carefully cut the image out using both a box cutter and scissors. Once her profile emerged, I cut out a heart!
From this point forward, I delved into my assortment of textured decorative papers and scraps to strategically and thoughtfully paste them all over Fuzzbie’s cut out image. Once I felt pleased, I moved onto the “tiny” heart.
When they were finished, I painted them with a layer of Gesso to protect the paper and matboard. This was always a trial as I had to lay paper towels all over our tiny kitchen counter (we lived in New York City at that time!). I was also always a bit impatient with this step, mainly because I was excited to print and because it was late at night!
Early the next morning, I’d take the dried plates to the rooftop to spray them with Crystal Clear Acrylic Coating, the last step in protecting them. Leaving them upstairs to dry, gave me the perfect amount of time to have breakfast and prepare for the day. Then, I’d gather the plates and supplies to walk the mile and a half to Parsons School of Design for my studio time.
Initially I arranged the plates to coincide (therefore the heart plate was cut smaller than the opening), but unfortunately I misplaced the heart at the studio… I have only one impression of Fuzzbie with her heart (see below).
“Love Cat with Heart” 2011. 22″ x 30″ collagraph
Both versions, with and without the heart, have qualities I like. I may in fact prefer “her” with the stark negative space in place of her heart. I feel it makes the heart stand out that much more! Which do you prefer?
I am justnow deciding to relax about the progress of this project and space ~ this presentation of my art and artistic projects. Nothing need be “written in stone” (and how can it truly be in this digital era?!) This website and blog will undoubtedly morph and transform alongside my art, interests and creative endeavors. As I write, I am just now deciding to applaud that idea and allow it to untangle my perfectionism tendencies. This is in fact quite liberating and beautiful. With these nerves now being soothed, I present “Labyrinth,” a collagraph I created and printed in 2011.
In a quiet, calm, internally serene and focused moment, I sometimes feel a tug from the recesses of my mind and a whispering from deep within. Images of pseudomythical creatures peer out, raising their heads and presenting to me their would be figures. I reminisce about Native American Totem Poles from my upbringing in Seattle. Memories from childhood of their grand, carved figures pull me towards my collection of textured decorative papers. Various animals from my nightly dreams and daily life call to me to create my own pseudomythical creatures – to birth another being for their world.
