In my last post, I wrote about my use of a stencil to create a linoleum reduction print that had colors that were not analogous. This is my interpretation of a leaf of Rugged Jack Kale:
Elizabeth Busey, Freeways of Fuchsia. Linoleum Reduction Print, 16 x 24in image size, 2011.
I am pleased with the results. The stencil, while a bit difficult to work with, did keep the vein areas free from green so I could layer them with pinks and blues. I worked more slowly, and subsequently did not have those pesky stray printing marks in the plainer areas of the print.
When I started this print, I was a bit concerned that the stenciled area would not feel integrated with the rest of the print. Given that the colors were so different, asking for integration seemed optimistic. I took on this challenge by having the stenciled area share colors with three of the leaf layers. The first two layers were warm blues, and then the stencil was used. On the last layer of the vein, I actually used the same blue that was used as the last layer of the leaf. So while the whole point of the veins is their outrageous color, the veins and leaf cells don't seem to visually separate.
This project was actually an entry in a contest. A local seed company, Nature's Crossroads, was having a contest for images for three seed packets, including one for Rugged Jack Kale. I sent in the entry yesterday, and while I have no idea if my stylized version of the plant is what they were looking for, the contest gave me two things: a challenge, and a deadline.
Which makes me wonder, how you keep yourself inspired and motivated? The subject matter clearly pushed me to use stencils in a new way, and I'm glad I tried it. Can you still be true to your vision while meeting the parameters of others? Something to think about.