Fast Pass, copyright 2013
3” x 5” two plate linocut print
Last week when I was printing my line study, I had a couple extra
hours in the studio. I’d previously drawn the plates for a Fast Pass
double-plate print, so I quickly carved it as a fun distraction. The
Fast Pass was the SFMTA monthly pass card when I moved to San
Francisco in 2007. It’s since been supplanted by Clipper, but most of
my friends have some emotional attachment to the Fast Pass. You had to
get a new one every month, and the colors changed each time, often
appearing almost seasonable. I have a collection of the Fast Passes
that passed through my hands, and it seems like I’m not alone.
As a draft print that took about 90 minutes to carve, I’m happy with
the result. I’m particularly happy with how the MUNI logos came out.
This is one of the first prints I’ve done with text on it, so I think
the next thing I’d like to work on is cleaning up the text carving a bit.
|tags:||linocut, multiplate, text, postive-negative
“Welcome Home”, copyright 2013
5” x 7” two plate linocut print, printed on Rives BFK
Richard and I just moved from South Beach back to the area I lived in
when I first moved to San Francisco, and we first started dating.
We’ve been in the new place for a couple weeks now, and it already
feels like we’re more in the city than we were before: closer to
friends, closer to things to do in the evenings, and more in a
neighborhood. I was in the studio on a Wednesday evening, just days
before we moved, and I wanted to commemorate our new home. This is
what came out. It’s not a literal drawing of the front gate and
building, but it sort of takes the elements and rearranges them a bit.
It’s one of the first things I’ve done where I just drew directly on
the plate before carving, instead of doing a drawing first. Of course,
I forgot to reverse it, so I still wound up tracing what I’d drawn,
cleaning off the plates, and then re-drawing it. Sigh.
“Untitled (Bay Bridge)”, copyright 2013,
8” x 10” four plate linocut print, printed on Rives BFK
Shortly after I finished “Golden Gate” last year I decided I needed
to do a companion piece depicting the other bridge in San Francisco.
I pulled the first prints of the new piece on Wednesday, and I think
it’s pretty interesting how it turned out. Just like on “Golden Gate”,
I tried to stretch technically. One of the plates — the sky and water
— is cut in two so I could ink the gradient the way I wanted to. When
carving the water I limited myself to a rounded edge carving tool to
try and make it more “shimmering”. And the cables on the bridge are
represented using carved lines against the sky. All three experiments
feel pretty successful to me.
When I was printing “Days Getting Shorter“, I experienced how
much fun printing multiplate prints can be when the registration is
loose. The loose registration on those plates meant that I could focus
on inking, colors, and other things, and the registration just sort of
happened. The registration on this piece is much tighter, and of the
five I printed I only got one where it’s really right on. But even the
ones where’s it’s a little off don’t feel like failures to me: I
think because there’s so much going on, it’s easy to enjoy other parts
of the image. And working on tight registration is something I can
practice in upcoming work.
“Days Getting Shorter”, copyright 2013, Nathan Yergler
8” x 10” Two Plate Linocut, printed on Rives BFK
This was a fun piece to work on. It’s based on this photo (used
with permission, albeit after the fact), which I’ve been staring at
off and on for months. The most interesting thing to me is how the
rainbow roll turned out (the gradient in the image). The ink at the
top is a magenta with a little blue in it, and the ink at the bottom
is mostly opaque white, with a little black in it to make it about the
color of concrete or pavement. But the black shadow at the bottom
masks most of the pure gray color, and the opaque white in the gray
seems to really bring out the blue that’s in the magenta. Totally
unexpected, but very pleasing to my eye.