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Australia – A Memoir

outback lo res

I have pretty much made all my plans for the twelfth trip to Australia. Some teaching, some quiet time and a few days of special time working with some of the students who have shown up so often in my classes that we just want to continue working together. I can get it all done in just a bit over a month and be back home. A few years ago I started writing down the impressions and experiences of Australia. So for the next few posts, it will be like a serial of sorts. An installment of the memorable events that have happened down under.

Australia – The Indelible Marks Left Behind

Sandy Webster

It is impossible to express, this feeling of being deeply branded by Australia. How does one put into words the depth of the marks that the country and its people have left on me. I think it started when I was a child with early National Geographic images of something so foreign looking and yet familiar. Raised in a rural environment I was drawn to those dramatic country scenes. The men and women of the Outback struggling with keeping themselves and their livestock alive in what looked like insurmountable dangers of fire, flood, and distance. Brave, strong people I thought as a child. Friendly, open and honest and busy with lives full of action. Men forever wrestling sheep and cattle and one another. Women surviving on what little they had while they waited and waited for the next demand to take its toll. What I couldn’t imagine from the pictures I saw, the writers of Australia filled in nicely. From convict colonies to contemporary urban scenarios, Australia’s writers, photographers and artists brought their country to life.

In 1997 I got the chance to go there and see for myself how real it all was. I would teach workshops for the Fibre Forum and be housed and shown the sights. It was magic. The air was clearer, the horizon further away, the sky bigger and bluer, the smells new and different, the sounds exotic and louder, the voices happy-sounding and full of strange expressions. I took it all in and took notes…. constant notes. I photographed everything…..the picture being the physical evidence of my presence in this country. I did not know then that the notes and quick scribbles and drawings would be of more importance to me than the photos…..photos that gave too much information and missed the essence of me being there, at that moment in time. On that first visit I vividly recall my hosts taking me from Canberra to Mittigong and making sure to be in Golburn for a pre-arranged luncheon where the owner would first serenade me with the didgeridoo and then a Civil War melody on his violin because it was the closest he could get to music of where I traveled from. The thoughtfulness that went into giving me that experience as a welcome to their country was the most wonderful and memorable welcome to a country I would never get enough of.

hills

I asked questions, so many questions that seem silly and ignorant in retrospect. But sometimes not. Like asking my first driver on a walk into the countryside of Canberra if she ever just wanted to keep walking, walking further into the outback. And if she could hear the sound of what I interpreted as the “sound of waiting”…..women waiting for their children to return, the postman to come, the rain to come, their husband to return from long distances in dangerous places. She politely replied, “No, not really.” And she warned me not to keep walking myself. “People are lost that way you know, searching for something out there.”

behind the trees

On that first visit to Australia I went to Alice Springs and Uluru…the very soul of Australia. A private pilot flew me out there and banked around Uluru and the Olgas so I could get good photos from the air at dawn.  A guide who had last minute cancellations ended up with just me to drive around and accompany on hikes through the Olgas. At the base of Uluru he dropped me off near routes that had few if any tourists and waited to take me to the next back way in. He suggested what I should order for lunch while he went off to catch a thorny lizard for me to see close up before letting it go in the desert. He brought me dark beer to drink while I sat with him and watched the sunset on Uluru, then drove me back to the airport where the pilot waited to take me back to Alice Springs.

Uluru and fence

The following day I went to a Coroboree and let the Aboriginal spokesman, George, cut my hair to add to his string while thanking me and saying that the Japanese tourists did not offer theirs. He said he and I had hair with more tooth to grab on. I breathed him deep into my lungs so as to have him and his country stay inside me for as long as possible. Later that morning I ate a witchetty grub and other bush tucker. It was at this Coroboree that I bought my first Australian Aboriginal Art.

aboriginal art

I never thought I was going to come back. I was intent on filling myself and my suitcases with Australia.

Turning Seventy-Two Years Old

river threads

Yesterday I turned 72 years of age. I had no special plans other than washing and ironing after a week of feeling my way through five days of wood engraving in an exceptionally inspiring class. My fellow students were very good at seeing where and how to add the light and our instructor is simply the best and most generous at teaching.

My own work (three wood blocks engraved) was acceptable but leaned more toward the harsher lines of wood cuts than engravings. I need more practice. But engravings require end grain blocks of wood that are not so easy to come by. I could make my own like I did more than a few years back and hope that the seams where they must be pieced together do not show in the finished print or I could just go back to wood cuts where extra marks matter less.

Here are some of the engravings I did with the same instructor about six years ago.

samurai wood engraving

102_4024

And another I did on my own later, a small one used for hand printed Christmas cards.

pine cone wood engraving

And here is one of the many wood cuts I have done on the plank side of a wooden board. This is part of a series of owls with backgrounds carved on the opposite side of the block and colored with a different ink.

barn owl

And now for this past five days of engraving.  Here is the first one. A small block about 2.5″ square carved with a crow’s head taken from a large graphite and acrylic painting I did and hangs in the studio.

crow block and prints

Then onto one of my favorite subjects: Eucalyptus leaves and pods. Here I used one of my own hand made glued up blocks that had worm holes in it. They could be somewhat disquised within the bug holes so prevalent in gum leaves.

gum nut block and print

And another finished print of this image.

gum nut print on green

Finally a 2.5″ x 4″ block of an interpretation of Storied House, a mixed media structure of a house with an organza book in the attic. I decided to see how it would be printed as a book plate.

Storied house block with sketchbook

storied house ex libris

I really like the sound of wood being shaved away from the matrix. I even like slipping and having to adapt the new mark into the image. But my hands get sore. My older hands get sore from the gouging, sharpening, gouging some more. My back hunched over the block aches because I just do not want to get up and take a break when I think that any moment now I will have the perfect block carved and ready to print.

This week I will give myself and my body a break and go back to assembling the Lost Time books that I printed and cut up before the engraving class. More Epson ink has arrived and I may just do the last five of the Diner Time Circus book. Or…..design another wood block image to start on when my hands recover.

 

Trying to Decide on Format for Lost Time Book

lost time first two test books

These are the test books for ways to format text and images for a limited edition of the Lost Time book I have been working on. I wanted to get it all figured out this past week and have everything laid out in the computer. The thought process was to get the images the right colors and size needed to decipher the details. Then where does the text go? Over the image? On the left blank page? Under the image? It is funny how often my mind changes. But not so funny as the printer continues to suck up the ink as I deliberate. My quite large Epson Stylus Photo R3000 has informed me, just at the moment I thought I would use it, that the ink is low. A quick check on the website for purchasing more ink and the cost of $283 seems a bit much right now. Maybe I will wait for a sale.

The other problem was that the larger Epson printer originally saw more dull greys, so I corrected the images yet again only to have them look too yellow. It seems the smaller office type Epson was more in sinc with what I had in mind. Of course the problem here is that it only takes 8.5″ x 11″ paper and the images need to be a minimum of 5″ to be legible.

The book above on the left is six inches across and only has the images from the printer glued to plain paper to see how it looks. The one on the right is five inches and turned landscape wise to let me put additional background pages next to each one with image and text on the right.

lost time test books open

But I don’t like trying to read the text within the image. Especially since I went back through all the images in my photo program and had them all made fainter to get rid of the yellowness, feel a bit more mysterious and match up with the graphite used in each one. It is so strange that to see something in my head is one thing but I need to complete the entire process to actually see that it won’t happen quite the way I envisioned it. Lots of ink and paper lost, well sort of lost, in this process. Although I like the soft cover on this second prototype for some reason I thought maybe I should start again making the book larger with images only on the right with the text under the image and a blank white page to the left. This required using a piece of card stock weight paper 8.5″ x 11″ for each page and having a folded and glued foredge. Of course each image needed a decent margin around it making the new book size 7″ tall and 7.5″ across. Here is that process.

lost time folded foredge pages

Each page folded and one half inch glued to the back plain paper. All in a card stock that I liked the feel of. So much about book arts is how does the page feel? Does the “feel” of the page match the way the images and text “feel”? These images invite touch and “strolling” of fingers through them.

lost time folded foredge detail

I decided that there should be a concertina spine section to glue the open pages to each side of a fold. Then of course thought stitching these folds into place would be better than gluing them. This would let them “breathe” more when turned.

lost time concertina

Next was getting each lined up with the one below as they are glued into place.

lost time pages glued to concertina

I chose a lighter weight paper for the concertina fold section that was 100% cotton fiber office paper. It held a crease nicely and was easy to pierce and stitch using only four holes.

The messy part for me was making the cover and getting it close enough. Actually I had to tear it apart twice before getting something acceptable. I wanted it hardbound using two colors of lokta paper that referenced the interior illustrations. Getting the three pieces (front, back and spine) that had all been covered individually the right distance apart was challenging. Hanging the text block did not work the first time because I had overestimated the width of the spine and it, well, just looked bad.

lost time making cover pieces

I redid it smaller after pulling it away from the covers and tried getting the text block attached. That took two times and adding more paper to the little I had left for the purpose of attaching to the covers. I did not like the gap that appeared between the end papers and first and last pages so I re cut them larger to cover the gap. See below.

lost time pasting in end papers

I put some end tapes top and bottom to help fill the gap and edge of the concertina between the text and spine.

lost time top view

Here it is finished.

lost time covers in place

A bit boring is my conclusion. The cover does not do it for me. Too plain. And way too much work to insert a title or image to make it more interesting. If I want to make a small edition in the hopes of selling some, I need to maybe go back to the smaller book with the soft cover. So this morning it is back to the printer (even the smaller Epson is now telling me that “magenta” is low) and back to the layout problems.

What I did learn is that the page on the left is better off blank, the text needs to be below the image, and the image needs to be smaller…..just a bit. The most important thing I have learned is that I need to make more of the dreaded blank journals to improve my hardbound binding skills.

This next week I am taking a wood engraving class. Five days of hearing the scritch, scritch of small shavings being taken away from the end grain. By tomorrow I should have had this Lost Time book decided and perhaps printed out. And then have selected my subject matter for carving this next week. And that means detailed drawings before heading into class if I am going to get much accomplished.

I will show my efforts here next week.

Old Habits with New Directions

lost time looking over edge background lo res

This is a large watercolor paper sheet that has been chemically rusted and then rinsed. I was using up the chemicals at my studio that were left from a recent workshop. I colored about twenty of these sheets then moved on to every sheet of protective papers from wax foundation sheets for bee keeping. After those were all dipped and rinsed I had enough left to do about ten large sheets of vellum.

I had a request to think about doing illustrations for a children’s book last week. After doing some research on how to go about that, I decided not only don’t I have the time it takes, but I am also a bit low on the photoshop savvy needed to lay it all out with sizing and backgrounds. It is more than just drawing pictures anymore. So I said thanks for the faith in my skills, but no thanks to the project.

But the idea of drawing in graphite again had its appeal. That combined with these pages from above, I decided to try to find places to put illustrations within the designs that occurred in the coloring process of making these papers.

lost time traveler with walking stick detail lo res

Here is a detail of the first drawing. After I did this one, I placed it over another sheet of patterned paper and realized that it would be fun to turn the work into a small edition of books with the subject being looking for lost time. Each illustration has a clock just beyond the searcher’s vision. In the image above it is underground in a cave. Here it is behind her on the background sheet as she is sailing off on turbulent waters and looking out ahead.

In Search of Lost Time boat detail lo res

Next she is peering over an edge and still looking for that lost time.

Lost Time Peering over Edge lo res

I think I will age her as she looks, and looks and looks for her lost time. Also there will be some text. Probably written by hand in graphite below or within the image. It might be an accordion style book. Because of the details of the drawings it seems that no less than six inch illustrations will do. That makes it a fairly large book. After each image is drawn I scan and adjust the colors to what they are supposed to be and work over the contrast/brightness. When I have enough drawings of her endless and fruitless search I will decide on a format for the book and decide how many in the edition I want to print. More later on that. For now I am completely absorbed in the idea of time and where to look for it. Start in the studio!