There is a very solid design core to my aesthetic. Evidenced by the first third of my career spent in graphic design. In high school, I was the go-to for posters, programs–all manner of commercial art. Very drawn to Bauhaus and Piet Mondrian, printmaking was a natural fit for me. The background I’d built in calligraphy built a profound connection for me to Japanese woodcuts and a distinct sense of line in my work. The recent grid studies inspired by the view from
my studio window have reflected those early influences and gradually sent me back to my college etching experiences. The intermediary piece above was an expansion on the quality of line and the subtle differences that weight and line direction can create. Especially using delicate, etching-like lines with the colored pencil tool in Tayasui’s Sketches program, the piece began to take on more complex characteristics.
Last night I went back to expand on the use of the thin, delicate etching line to create more color complexity and experimented with the use of partial etching paths built around certain shapes and connecting the rich blues. The character has changed and I like both studies in different ways. I am curious about the subtle vibrancy of the faint and delicate etching line and am not through experimenting. For now, I am reveling the intellectual exercise of thinking about what is “beneath” my art and what that does or may mean.