Landscape prints

When I was growing up, my family had a coastal seascape painting by Irving Sinclair with a black light mounted above it. At night, we’d switch on the light and the moon and stars would glow, as well as some of the wave crests crashing into the shore! I was fascinated and spent hours looking at the way Sinclair applied paint to canvas, used light, shadow, and tonality. He gave me some oil paint on an old palette once so I could fool around with the colours. I still remember the smell and the texture.

I had forgotten about that black light painting until I began to work this past winter on two new prints. Glow-in-the-dark ink mixed into the sky means the northern lights actually glow if viewed with the lights out! (Or with a black light.) It’s fun to print northern imagery this way. And they’re all a bit different, because of the way the different inks interact, and because I used a phthalocyanine kind of blue for the smaller, vertical print, and an ultramarine blue for the larger, horizontal print. Here are a few samples:

The Process:

May, 2018: some miniature versions:

Every two years I enjoy the challenge of working within the constraints of the Biennial International Miniature Print Exhibition (BIMPE): a maximum print size of 10 x 15 cm (4 x 6 inches). Silhouettes of the black spruce trees of Canada’s boreal forest continue to fascinate me, so I thought I’d print some miniatures to continue my northern lights series (see the Landscape Prints tab on this site).

To create a sense of the electrical nature of the aurora, fleeting night clouds and shifting light, I used two film positives made with a wrinkly, textured photocopy toner wash. Looks like a classic tusche wash texture from a stone lithograph!

Here’s how the stencils print with metallic inks:

Horizontal variations:

Vertical variations:

Assorted silkscreened landscape prints

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