Observe the 20/20/20 rule: Every 20 minutes raise your eyes and focus on something 20 feet away to maintain 20/20 vision for as long as possible. Don’t do it! Raise the piece you are carving use a dictionary, or a few phone books to raise the height of the piece you are carving so that you can work with a straight back.
Nothing spoils an activity quite as quickly as an aching back. To do this they round their backs and bend their heads down toward the desk. Technique: Most people want to get close to what they are carving. They are called, Josei Moku Hanga To and are available down to 1mm in size, the smallest “U” gouge I’ve found. Ĥ) Carvers from Japan An elegant (and expensive) alternative are the beautiful carving tools imported from Japan and sold at McClains Printmaking Supplies. Unfortunately the 3-packs I purchased recently were dull and not worth using. When they first came out a few years ago these tools had a sharp edge. The 3 tools in this set are a 1mm “V”, 2mm “V” and a 5mm “U”. Unfortunately they do not have a good edge and so are not very useful for carving unless you have the tools and the skill to sharpen or hone the edges of a gouge.ģ) Staedtler MasterCarve Tool Set a more recent addition to the market. To do so, e-mail me at Speedball linoleum gouges: These inexpensive tools are an art store staple and have been around since I was in Kindergarten (forever). Mail order suppliers that sell polymer clay sometimes carry these tools. Therefore it is more economical to purchase the tools individually. The sets do not contain a group of useful sizes for jewelry scale carving. It is important to note that these tools, when found in wood carving supply stores, are sold only in sets. I use the following sizes:ġ.5mm and 2mm“U”, 1.25mm “V”, and 2mm “V”. They are very sharp and suitable for harder materials like silver, bronze and copper clay, as well as for polymer. This will allow you to lower the angle of the tool.ġ) Dockyard Micro Carving Tools are wood gouges that are available in very small sizes. To lower the angle it may be necessary to move the polymer plate so you can drop the heel of your hand off the edge of the table.
It should be held at a low angle, not perpendicular to the work surface. Dull tools may be another cause for chipping and rough edges.The angle the carving tool is held is very important. Properly cured clay won’t chip when it's carved. The tool should move smoothly and easily through the material. The white areas are then carved away using Josei Moku Hanga To v and u-gouges.Tips on carving polymer clay: To make carving easier, try warming the polymer clay slightly under your desk lamp. My digital process involves deciding which parts will be black and which white while drawing with a ballpoint pen to transfer the image to the block. The printout is then taped to the linoleum block with carbon paper in between. The technology I employ on these is relatively simple reversing the image to make it true to how I originally saw it and printing the photo onto copy paper. The external air conditioning and laundry drying equipment are on all of them, but the modified porches, updated windows, external wiring, additional awnings, and of course whatever laundry they have out for a time combine together visually to form complex combinations of lines and shapes - from objectively uninteresting conditions. I became drawn to them because of their near sameness across many areas, except over time most have been modified individually by the occupants. These six story, walkup buildings were mostly built approximately 30 - 40 years ago and compromise a large part of the middle class housing found between the inner old city and outer suburban apartment towers.
Josei moku hanga to series#
My Apartment series is based on photos I took while recently living in Shanghai. I was familiar with his work and was going to blog about him but doing it in the context of this show is very exciting.Īpartment 9, 2014, linocut, 18″ X 24″, edition of 15, in the IPCNY Summer/2015 showĪpartment 14, 2014, linocut, 18″ X 24″, edition of 15Īpartment 15, 2015, linocut, 18″ X 24″, edition of 10 Nicholas Brown was one of the postdigital printmakers that was in the IPCNY show, New Prints 2015.
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