image selection tool

The purpose of this tool is to facilitate the selection and presentation of sets and subsets of images.

I put this together because I wanted a way to access drawings to use for reference when making new work. It might just as well be used in making a presentation to a client, or audience. It uses standard HTML, CSS, and JavaScript, and so has the advantage of being portable in that it will run in any web browser.

On open, the page displays images that then may be selected by mouse click and then enlarged by pressing the keyboard Enter key. The images will scale-up to best accommodate the number of images selected and the width of the browser window. Use the F11 key to view fullscreen, and F5 to refresh the page and return to the opening state. Sample page.

image sample a, 1 x 1.25Images are scaled to fit the browser window. A percentage of the window width is allocated for the display of images, and divided by the number of images selected to determine their widths. The width is multiplied by 1.25 to set the height. To display correctly your images must be prepared with an aspect ratio of 1:1.25. With the browser open to the full width of your monitor screen, the single image display will be at maximum size and guide you in setting your template file to full resolution. Images must be placed within an “images” folder at the same level as the .html file, and named “1.jpg, 2.jpg . . . 18.jpg”. The download includes a Photoshop .psd template file and a folder with placeholder .jpg files. Ideally, I would have liked to be able to load files directly from a directory folder, but for security reasons Javascript cannot access local file information.

Portrait mode best fits my needs, and so I’ve put this first version together with that in mind. If there were interest, I would put together a landscape version as well. Future versions might include an option to load additional sets of images, controls for use on mobile, etc. The .zip file includes the .html page, a copy of jquery-3.3.1.min.js, the .psd template, and “images” folder with .jpg files. I offer this as is, without warranty. Feel free to use or change to suit your needs. If you have thoughts about how this might be improved, I’d be happy to hear your ideas.

Download here image selection tool v1.zip

working in the woods

I began last summer to work in clay, reasoning that it would be easier to manipulate and change than the wood I was working with, and while I took away useful lessons in how the clay could be used, the studio situation I found was not going to work for me. I went back to working directly with the wood I was cutting in the forest. A good deal of time went into figuring out what needed to be done to control wood, to prevent checking, splitting and warping, through drying and then sealing the wood in preparation for taking paint, stains and other finishes. I also began to experiment with other approaches to finishing the surfaces, by bleaching and also burning.

It seemed one way to color the wood was to char the surface with flame. My experience in making charcoal no doubt sparked the idea, and research revealed techniques that have been used in Japan, Shou Sugi Ban, a way of charring wood used in buildings, and in the United States, by wood carvers, to add decorative elements to bowls and other forms. The wood bleaches I used result in a coloring very close to white. The bleach would not affect areas that had been charred, resulting in black and white design that is intrinsic to the material.

Drying the wood quickly was accomplished using a wood kiln. This consisted of a cabinet I built from an old chest of drawers, with insulation added and doors that would seal fairly tightly. A heat source, a light bulb, and a small dehumidifier keep the moisture content of the air within the kiln low accelerated a drying process that otherwise might have taken months into a week or so, depending on the volume of the wood. I monitored the progress with a humidity meter, and when the level had stabilized over a period of a couple of days, the wood was dry and ready to work.

Finding the right materials to seal, stain, and prime the wood for additional finishes is a work in progress. A series of layers of shellac, Golden fluid matte medium, Keda water-based stains and Transtint alcohol-based stains, and Crystalac clear wood grain filler are the materials I have settled on after much experimentation. Wood is naturally hygroscopic, and the shellac reduces the absorption of moisture in the air and so prevents movement of the wood, and the matte medium both the leaching of tannins from the wood to the surface, and bleeding of medium from finishes into the wood. Different combinations of these materials for different finishes have to be considered, but those mentioned here result in a surface that retains the natural look of the wood, which is what I was looking for.

My thinking about these works has been changed by the situation I am working in. I have been looking at and to natural forms around me, and considering how these can be pulled into or used to develop ideas I have for the work. Photography and digital manipulation of imagery selected for that use is an important part of the process I am involved in, and a way drawing out ideas. Today I collected stones from the woods, and arranged and photographed them in different patterns, and will work with those in Photoshop. I have been photographing sticks, as a source of line, and cutting larger branches to serve as “rulers” for the same purpose. As always, the process of making the work is the source of the work, and so I think about ways I can invent process that will present new ideas.

wood, paper, clay

Out yesterday cutting wood slabs. A lot of work goes into getting one of these ready, so having more of a plan when beginning to cut makes sense. Thought I could make drawings on paper, but doing the work in one shot does not seem to be how it is happening. I make the cuts, then look, photo, and bring into Photoshop to make edits. These edits then can be taken back to the work… recut, assemble.

So drawings… preliminary, in order to get a better sense of where I want to go. Ink drawings on paper can also be cut and rearranged. Or clay, which can be cut into, patched and recut, and is more in accord with the process in working with the wood.

wood support for painting

Continuing to work cutting into slabs of wood from tree trunks and branches. Rather than just as blocks for printing, I am beginning to use them as supports for paintings. First drawing into the wood with a chainsaw, and reworking as needed with other tools for surface and detail. Photographing the work at various stages and experimenting with various reconfigurations of the image in Photoshop is an important part of my process.

cutting wood blocks for printing

I have been collecting leaves, bark, and other materials in the woods here and thinking about how I may use them in making drawings, prints, and paintings. The process at this point is to work up a sketch from scanned material, use that to determine the relative size of a wood block, settle on the dimensions for the work, find the raw material that will fit the requirements, here, a section of an old tree trunk, and print out a guide for the image and cut the block. Every source material winds up having to be handled differently in the cutting, the tools that work well with one piece of wood may not be what will work with another.

081316_graham-white-artist_cutting-wood-blocks-for-printing

wood blocks

I have been cutting wood blocks out of an old tree stump to use for printing on rice paper. I eyeballed all of the blocks as I made the initial cuts with the chain saw, happy to live with the drawing and marks that resulted from the process. In the first prints I made it was clear that the proportions of printing surface to open space was wrong, and the images surprisingly smaller than the appearance of the blocks suggested. So I have been fixing the blocks by cutting them apart, removing what would be white space, and reassembling.

wood blocks for printing

drawing tool for ink and wash

The drawing tool, used here with sumi ink and wash.

I have been drawing recently with sumi ink and wash using brushes and pens of various kinds. Some are reed pens that I cut from the stems from an old hydrangea bush. I wanted a tool to use with the ink that had more of the feel of charcoal in contact with the support, as opposed to the brush which has a softer feel in point of contact. It occurred to me that something like the tool pictured here might be made using these stems and a section of fabric that could absorb ink. I was surprised at how well this works, the fabric will absorb a large amount of ink, and so it is possible to draw for a longer time before recharging with ink. I’ve made these in a variety of sizes, but even using one size it is possible to get a variety of marks. One drawback in that after prolonged use, the fabric begins to fray, but is easily replaced. Click on the image here to view a sequence of steps for the construction of the tool.

oral history interview with Richard Diebenkorn

diebenkorn_reclining_nude_pink_stripe

Susan Larsen, for the Archives of American Art, interviews Richard Diebenkorn, 1985 May 1-1987 Dec. 15

“Diebenkorn speaks of his family background and early life; his education and his service in the Marine Corps; his introduction to modernism; his early abstract work; the formation of the Bay Area figurative school and the relationship between art in New York and in the Bay Area; teaching; critical and public reaction to his work; important exhibitions of his work; vacillating between the figurative and the abstract in his painting; his working methods. He recalls Daniel Mendelowitz, Erle Loran, Raymond Jonson, David Park, and Elmer Bischoff.”

Image: Richard Diebenkorn, “Reclining Nude – Pink Stripe”, 1962.

site launch

art·work results from a desire to rethink how my activity as an artist may be represented in a way that is more satisfying.  It is opening all the doors to the rooms in the house. The old hierarchy is out.

The plan is to present both the work of the studio and the research and discoveries related to my work, as well as the art that evolves from these activities.

I have pulled in existing content from drawingprocess.com, editing some of the posts and deleting others, before closing that site.