This month I’ve decided to feature several pieces of my fantasy artwork that I’ve recently added to my Etsy shop, ArtdogPaperSculpture. Yes, I’d like to sell some. But I also just enjoy sharing my artwork. I hope you’ll enjoy looking at it. These works also travel to art shows with me.
I first began developing the composition Coming Through!in 2012, but my assertive little unicorn making his way through the day lilies has been through several variations since then.
I‘m now developing an edition of no more than 25 multiple originals (each piece made one-by-one, hand-sculpted and assembled, which leads to subtle variations. Thus, although the edition is consistent, each piece also is unique).
Subscribe to this blog for further updates on all of my available artwork! Note: this post was updated with additional images on 7/19/2017.
IMAGE: This photo of my art was taken by me for documentation purposes and to use for my blog, social media, and my Etsy site. Feel free to re-post it, if you wish, but please don’t forget to attribute it to Jan S. Gephardt, and a link back to this post or the Etsy site is deeply appreciated!
I attended DemiCon 28 last weekend. It’s a science fiction convention in the DesMoines, IA area (technically, Urbandale), where they had an art show, masquerade, panel discussions, parties–the full gamut of things I have learned to anticipate at sf conventions in my decades-long career of attending them.
And they had author readings.
In my experience, author readings at large conventions by “big name” authors can be standing-room-only events. Author readings by mid-list or relatively unknown authors tend to be the orphan stepchildren of convention programming. If anyone shows up for one, that counts as “wildly successful.”
Some promoting, arm-twisting, and recruitment of friends and family to fill the audience may be required, for newbie writers. We may have loved listening to people read us stories in grade school, or be passionately attached to our audio books and podcasts as adults, but somehow getting people to attend readings at sf conventions continues to be kind of a heavy lift.
As some of my more persistent blog-readers may have noticed, I’m a writer who’s poised on the brink of having a novel to release into the wild. It’s gone through multiple drafts, been professionally edited, and I’ve done all I can to make it the best novel it can be. The time has come to start making people aware it’s coming.
I asked for a reading at DemiCon. Better yet, I got one–although I wasn’t scheduled for many other programming events where I could promote it. I made fliers (with advice from my son about copy writing), and invited everyone I could.
I also was able to connect with a couple of other authors, who also had readings. One of them was P.C. Haring, who’d been scheduled for a reading that morning at 9:00 a.m.
Now, in the normal world, 9:00 a.m., even on a Saturday, is a fairly reasonable hour. At a science fiction convention–especially one with as many lively room parties as DemiCon 28 has, a 9:00 a.m. panel on Saturday might count as cruel and unusual punishment.
I’d noticed this scheduling earlier, and commiserated with him. Then, on an impulse, I offered him the second half of my scheduled hour from 4-5:00 p.m. This was not entirely altruistic on my part: my voice tends to give out after half an hour or so of reading. In any case, he accepted the opportunity. We had a nice attendance–the room was about half-full. I read my first chapter, then he read excerpts from his book. Before we knew it, the hour was over and we’d all had a pleasant listen.
Then wegathered up as many of the audience up as possible, and trooped across the hall to listen toLettie Prellread from two of her short works. The first, “Emergency Protocol,” is a flash fiction (very short) piece that will be published by Analog Science Fiction and Fact at a future date. It is wonderful: watch for it.
Did I gain anything by encouraging my audience to also listen to P.C. and Lettie?
Could/should I have filled my entire hour, all by myself? Well, certainly I had enough material to read (assuming my voice held up). And from comments I got later, the audience would have been game for listening to me. So maybe I made the wrong call. If you look at it from the point of view that all authors are in competition with each other, then I definitely did. Nice guys finish last, and all that.
But I don’t see the world as a zero-sum game, and I especially don’t look at writing that way. I cannot possibly write fast enough to be the only author someone reads (unless they read ver-r-r-r-r-ry slo-o-o-o-o-o-owly, indeed!). Even much more prolific authors ultimately can’t. Everyone’s readers are also going to read other authors’ work.
Therefore, I’d rather be a resource, a connector, a person who introduces people to others they may also like, in any given network. I fundamentally do not believe that any given group of writers (or artists) are competing, so much as conducting parallel enterprises. If we conduct our careers in friendly, cooperative ways, as far as I’m concerned, we all gain, and actually might expand our own networks a bit in the process.
IMAGES: Many thanks to the Balticon Podcast, for the photo of author Mark Van Name giving a reading from his novel No Going Back. There aren’t very many photos of that particular activity (author readings at sf cons), so I was relieved to find a good one! The promo card for my novel, Going to the XK9s, is a combination of my copywriting and design, much improved by comments from my son Tyrell Gephardt, and an illustration I commissioned for promotional purposes, by Jeff Porter. The cover art for P. C. Haring’s novel Slipspace: Harbinger is from his website. The illustration for The Three Lives of Sonata James is by Kevin Hong. It is posted here courtesy of Goodreads. Many thanks to all!
Capricon 37 was a science fiction convention held February 16-19, 2017 in Wheeling, IL, just north of Chicago. Authors Jen Haeger and Jan S. Gephardt were scheduled to present a panel at the convention called Writing About Forensics. Unfortunately, circumstances prevented both of us from attending, so all of a sudden the panel had no panelists!
To make up to Capricon for our inability to present the panel at the convention, Jen and Jan have created a co-written blog post, to offer a glimpse of what we would like to have been able to say at the convention. We agreed to post it on our blogs, and send the finished “virtual panel discussion” to Capricon, too, for their use. We hope you enjoy it.
Jen Haeger (Moderator) is a writer geek with a DVM in Veterinary Medicine and a Masters in Forensic Science, though she presently writes part time and works part time at Barnes and Noble. Her published works include a veterinarian meets werewolf paranormal romance trilogy with some forensics in the first book, Moonlight Medicine: Onset. She currently resides in Ann Arbor, MI with her husband.
Jan S. Gephardt is a writer, artist, and longtime science fiction fan. Her new science fiction novel, Going to the XK9s, is scheduled to be released this year by Durendal Productions. It is the first in a series about a pack of super-smart bio-engineered police dogs who struggle to establish themselves as full citizens, while solving crimes and sniffing out bad guys. To prepare for this novel series, she has devoted much of the last four years to researching, among other book-related topics, police investigational procedures and forensics.
The Questions, and our answers:
1. What is your definition of “forensics”? How does the definition expand or change, when you apply it to science fiction?
JH: My explanation of forensics is the opposite of the scientific method. When you use the scientific method, you start with a hypothesis, then design experiments or make observations to test that hypothesis, and end up with a result. With forensics you already have a result: a murder victim, a contaminated stream, a collapsed building. You then come up with a hypothesis of how that result came to be and do experiments or look at the evidence to try to determine how likely your hypothesis is.
I don’t feel like the definition should change when applied to science fiction. If in your story there are people who can just use a device to say, replay what happened at a crime scene without needing evidence, I wouldn’t call that forensics.
JSG: In the post-CSI era, I think most laypersons would define “forensics” as established techniques for evaluating the physical evidence of crimes. This would include analysis of images, fingerprints, chemical substances, DNA, blood spatter, ballistic evidence, etc., retrieved from a crime scene and documented according to the protocols of the agency doing the investigation. In each category of physical evidence, standards have evolved, based on systematic observations and more general scientific knowledge.
I think the only way the definition might be changed in science fiction would be a matter of specific techniques for the “list of types of analysis.” An author might extrapolate a new way of analyzing evidence, or speculate that a current technique might be abandoned in the future for some reason.
2. What are some of the problems you see with writing about crime and forensic evidence-analysis “in the future tense”? That is, what are some of the pitfalls science fiction mystery writers might need to consider and try to avoid?
JH: I think that science fiction writers must do research on what is currently available as far as forensic techniques are concerned and build/extrapolate from there if they want to stick to “hard” science fiction. Soft science fiction writers have a lot more leeway. They can just make stuff up and not worry about any pitfalls, but they may lose readers who know what is impossible, like determining the age of a latent fingerprint or time of death down to the minute.
JSG: I agree that any writer should do thorough homework, and I’d include the “soft sf” folks in that caveat. Due diligence helps avoid silly mistakes that can ruin the story for readers who know better. The main pitfalls beyond that are in the area of prognostication: what will be the “DNA-type” revolutionary discovery in the mid-21st Century? We can’t know, any more than people writing sf in the 1970s could have easily predicted using a cell-phone to photograph evidence or analyzing touch-DNA. But it’s fun to guess!
3. How big a role should forensics play in a science fictional crime story, as opposed to other aspects? What other investigation techniques or practices do you think might evolve, and how might they compliment or augment what we now think of as investigational best practices?
JH: Wow, okay, so any other investigation technique could evolve, but if your story is science fiction, I feel that the author should stick to science, i.e. forensic science. That is what the reader will be expecting from a science fiction novel. If the author wants to do character-centered speculative fiction, then they can concentrate on other investigational practices like mind reading during interviews or using super emotionally sensitive people to assess a suspect. There are so many different types of forensics that I’m not sure too many other techniques really come into play in a crime story except maybe interviewing people and profiling, though that may fall under forensic psychology. There is also deduction, but that can’t really be used in court.
JSG: I feel I ought to point out that while analysis of the physical evidence has an increasingly important role to play in helping to alleviate that “reasonable doubt,” there will always be a place for “good old-fashioned police work” in an investigation—that is, canvassing for witnesses, getting statements, building timelines, getting eyewitness identifications, etc.
Although eyewitness IDs have been found to be far less reliable in some cases (especially identifications of strangers in crowds or with distractions) than originally thought, it’s pretty hard to beat the certainty of a statement such as, “I’ve known that guy for 20 years, and I saw him shoot so-and-so in the head that night!” A science fiction crime story that ignores the human element (or the “non-terrestrial person element,” if applicable) ignores a huge part of the normal investigational process, and needlessly limits the story-possibilities.
A Belleville, IL officer talks to a member of the neighborhood after a call regarding a gun. Few investigations turn on forensic evidence alone.
4. Forty years ago, DNA wasn’t a consideration in evidence-gathering. Now it has become important in an amazing range of ways, applicable to a variety of crimes. Gaze into your crystal ball and speculate about ONE other potential kind of evidence that might become radically more important, given just the right breakthrough.
JH: Forensic science is constantly making radical breakthroughs. Imaging has made enormous strides recently in areas like crime scene reconstruction (being able to take a 3-D image of a crime scene for later analysis), spectroscopy (developing a sensor to detect date rape drugs), and adding audio to video (by analyzing vibration images).
But I’m going to go with precise time of death which has so far proved elusive.
Artist Jeff Portervisualized Jan’s Going to the XK9s protagonist Rex, a “forensic olfaction specialist,” and his human partner Charlie.
JSG: Probably the biggest breakthrough I’ve extrapolated in my novels is the ability to tap into the sensory capabilities of dogs in much more detail. We know that dogs can be trained to detect everything from bedbugs to cancer to hidden cocaine, but our ability to communicate with them is severely limited. What could they tell us if they could communicate in more detail? How would things change if we could swear one in on the witness stand?
5. In your own work, what have you found to be the most challenging or intriguing aspect, when extrapolating future crime-solving techniques?
JH: I haven’t yet done this in my writing. All my fictional forensics is doable at present.
Moonlight Medicine: Onsetincludes some forensics that are currently possible. It is the first in Jen’s fantasy romance trilogy about a werewolf and a veterinarian.
JSG: As I just explained, I’ve been having wonderful fun looking at the recent research on dog cognition and sensory capabilities, then extrapolating ways that we might expand our ability to communicate in more detail with them to learn in more detail what they are sensing. But there are many other areas where we can look at current practice and say, “Wow! If only we could find a way to say for sure if . . . !” My main fear is looking back ten or twenty years from now and groaning, “How could I possibly have missed that we’d be able to do THAT?”
6. Something that a writer might want to consider is whether or not to include any forensics in a crime novel/story. What are some reasons that there might not be any forensic evidence?
JSG: There are lots of reasons why no forensic evidence might exist—even apart from the careful machinations of a criminal mastermind. The investigator might not have access to a crime scene (either can’t locate it, or it has been moved or destroyed) or other crucial evidence (it’s extremely hard to prove there’s been a murder if you can’t find the body, for example). Or perhaps you have the crime scene but it’s been wiped clean (by whatever standards your sfnal setting requires). I bet the other panelists can come up with more.
JH: When writing about forensics it’s important to consider why there may or may not be evidence and if that evidence is something that will hold up in court. One of my favorite episodes of CSI is called Jackpot and has Grissom alone in the tiny, isolated Nevada town of Jackpot several hours away from Las Vegas.
In the CSI episode titled Jackpot, Dr. Robbins receives a severed head that sends Gil Grissom on a fateful trip to to Jackpot ,NV.
When he first arrives, all the evidence he has is a head and the townsfolk are all tight-lipped and unhelpful. Then he has his evidence kit stolen and has to buy supplies from the local hardware store to remake some of his evidence collection tools. It is a great example of how, in a small town or isolated place, the characters may not have the equipment or skills to process a scene, even if they find one. Also, I’m not sure if Grissom’s makeshift evidence collection techniques would allow that evidence to be admissible in court.
Another great (and hilarious) CSI episode, Rashomama, has all the evidence the CSI had collected in Nick Stokes SUV and the SUV is stolen before the evidence makes it back to the lab, rendering all of the evidence inside contaminated and inadmissible in court. This is a good example of the necessity of proper chain of custody of evidence and how it may be broken, rendering the evidence lost or useless.
I’d also just like to quickly mention that in today’s age of people having at least a CSI level of understanding of forensics, you must have a very good reason for a criminal to leave behind any obvious evidence. Unplanned or heat of the moment crimes are fine, but if someone has planned a murder, you must consider the steps they would have taken to minimize the evidence left behind unless your crime doesn’t take place in the present. If it takes place in the past, be very careful not to have police acting like the CSI of today and collecting evidence that there are no techniques yet established for analyzing.
7. Where does forensic science fit into non-crime stories?
JSG: Investigational-style observations could fit into lots of stories. You don’t have to be a trained detective to walk into your boyfriend’s apartment, find two wineglasses, and realize the lipstick on one of them isn’t a shade you wear, to infer he’s been entertaining another woman. Perhaps one of your characters is an amateur graphologist who never does business with someone whose handwriting shows certain characteristics. Anytime a character wants to learn something, there’s an opportunity to use an investigative approach.
JH: This is a good place to talk about all of the different disciplines of forensics. There are so many different aspects of forensics that apply to the environment, to engineering, to computers, to fields like anthropology/archeology, and so many others, that a crime is not necessary to employ forensic disciplines. The following is an almost exhaustive list:
– Forensic anthropology
– Forensic dentistry
– Forensic entomology
– Forensic pathology
– Forensic botany
– Forensic biology
– DNA profiling
– DNA phenotyping
– Bloodstain pattern analysis
– Forensic chemistry
– Veterinary forensics
– Forensic psychology (human behavior)
– Forensic psychiatry (evaluations)
– Ballistic fingerprinting
– Body identification
– Fingerprint analysis
– Forensic accounting
– Forensic arts
– Forensic footwear evidence
– Forensic toxicology
– Gloveprint analysis
– Palmprint analysis
– Questioned document examination
– Vein matching
– Computer forensics
– Forensic data analysis
– Database forensics
– Mobile device forensics
– Network forensics
– Forensic video
– Forensic audio
– Fire investigation
– Fire accelerant detection
– Forensic engineering
– Forensic linguistics
– Forensic materials engineering
– Forensic polymer engineering
– Forensic statistics
– Vehicular accident reconstruction
Many recent, popular police, mystery or thriller dramas on television use forensics as an important part of their stories. For some it is the primary focus, while it plays a smaller role in others.
8. Is the public done with forensics and shows like CSI? Is it still interesting to readers?
JSG: I think in the post-CSI era it’s hard to completely get away from forensics in at least some plot lines of crime stories. Consider that most of the N.C.I.S. franchise include quirky forensic analysts as regular members of the team, for example—and they’re some of the most popular shows on the air right now.
Similarly, Elementary, Hawaii Five-O, and Bones (although the latter is in its final season) all prominently utilize forensics. Moreover, the enduring popularity of crime series such a Patricia Cornwell’s “Scarpetta” novels, built around a character who is an evidence-collecting medical examiner, all would argue that forensics are far from “dead” in crime fiction.
JH: Sadly, I have just recently come to fully realize how obsessed the public is with crime and particularly murder and particularly the murdering of women. I came to this conclusion (that I should have reached long ago) after reading The Girl on the Train (excellent novel and movie by the by) back to back with The Woman in Cabin 10.
For more of my soap-boxing on this subject, please see my previous blog post. But stepping off the soapbox, I think the continued interest of the public in forensics is also evidenced by true forensic shows like Forensic Files and The New Detectives (yes, I’m a real forensics Netflix junkie).
Several long-running reality television shows also focus on forensics.
9. If forensics are so good, why are there any unsolved crimes? What problems with or drawbacks of forensics can make a story more interesting?
JSG: An earlier question that touched on “what if there isn’t any forensic evidence” partially answered this question, in my opinion. Forensics can only address the physical evidence. Such evidence can provide powerful corroboration, but in a satisfying crime story, often the most important element in the investigator’s “holy trinity” of means, motive, and opportunity is the middle one: MOTIVE. That’s usually what lies at the heart of a crime story. Forensics might be able to tell us who, what, when, where, and how, but rarely can do more than point vaguely in the general direction of the WHY.
JH: Though it is true that there are unsolved crimes due to lack of evidence, lost evidence, and contaminated evidence, there are also other hot issues dealing with forensics that can make your story more interesting. How about a forensic scientist skewing or just downright faking the results of a test to get a conviction? How about trying to validate a forensic technique in time for it to be admissible in court? How about taking a fresh look at old evidence with new forensic techniques (consider The Innocence Project)? How about planted evidence? Plenty of great story in the drawbacks of forensics.
10. What is your best piece of advice for authors wanting to write about forensics? Or conversely, what makes you crazy when you read stories where the forensics is poorly executed?
JSG: Ha! My answer is the same for both questions: Do your homework, authors! Especially in our field, it’s essential to check your facts. Anything else just doesn’t stand up to critical scrutiny by people who actually know. Who do you think your audience is, anyway? If you’re writing sf and your answer doesn’t include a fair number of scientists and scientifically-literate people, you haven’t framed your demographics accurately. Moreover, when it’s crime fiction, you might be surprised how many law enforcement folks are in the audience. This also means, of course, that experts may be more open to helping you get it right than you might expect.
JH: I agree with Jan here. If you are going to write about forensics, make sure to do your homework at least to the CSI-watcher level. That being said, I have several huge pet peeves with CSI:
1) the time it takes to do forensic testing,
2) the fact that they run every test on every piece of evidence collected,
3) the fact that they often work without masks and other PPE when analyzing DNA,
4) they have been shown working on multiple pieces of evidence at the same time,
5) CSI analyzing the evidence also interrogate the suspects, and
6) they often get DNA “matches”.
First, it should be noted that some forensic testing takes days or even weeks to do, so make sure that you don’t have an inappropriate turn around time. Second, many forensic tests are possible, but very expensive, so typically only the quickest and easiest are done unless it is a high profile case.
Also, not every forensic lab has the latest shiny, new forensic testing machine. Third, my masters thesis required me to analyze DNA and even with the strictest controls and appropriate PPE (hat, gloves, gown, booties, safety goggles, mask), there was still the possibility of contamination. Additionally, as an aside, don’t have people talking to each other directly over DNA evidence or while analyzing DNA evidence. Your spit has DNA and you should not speak when analyzing DNA. Fourth, cross contamination.
A crime lab scientist tests evidence from a sexual assault kit. As Jen described in her answer, the woman wears a mask to avoid cross contamination.
Fifth, forensic lab technicians must be as impartial as possible when analyzing evidence. In a perfect world they wouldn’t know anything about the crime or the suspects involved so that they could not introduce bias when analyzing and presenting results.
Sixth, okay, so in today’s world you can actually genotype an entire human genome from a sample and match it to another entire human genome from another sample. However, this is NOT how DNA testing is typically done, particularly since DNA samples at a crime scene have often undergone some type of DNA degradation (time, heat, chemicals, sunlight, dryness, etc.).
Typical DNA testing compares a small sampling of loci on just a few genes and comes up with a probability that the sample in question (i.e. found at the crime scene) came from the suspect as opposed to another random individual. This gets really complicated really fast, so best just to say “consistent with” instead of “match” (only the pilot episode of CSI gets this right).
Also, again, if you are writing in the past, make sure that you are using forensic techniques appropriate for your story’s time frame.
IMAGES: Many thanks to Capricon 37‘s website for their logo. So sorry I couldn’t be there in person, after all! Jen Haeger’s photo is from her Google+ Profile page. My photo is used by permission of my daughter Signy, the photographer.
I first started making paper sculpture in 2007, but during the first few years I tried a variety of techniques and media before I settled into a pattern that works for me. I have drawn upon my background in printmaking, graphic design, and pen-and-ink illustration to develop my own way of doing things.
1. It starts with a drawing.
During the early years I experimented with cutting freehand shapes out of acid-free paper of various colors, but this didn’t give me the flexibility or the control I wanted. I’d always been a pen-and-ink artist, so eventually I gravitated back to that.
First come the pencils, then the ink. I erase the pencil lines after the ink dries if I want a more clear, crisp line, but leave some or all of the pencil lines in, if I want a softer look in the scan.
I draw on tracing paper to create wings or other overlapping levels: pencils, then inks.
I sometimes draw my original ink drawings on acid-free, finer-tooth white drawing paper, while other times I’ll use tracing paper overlays to make separate parts of an image.
2. Next step: a scan.
I love using hand-applied colors, especially with Prismacolor pencils, gouache, or acrylic paint. However, I soon discovered that a scan can turn the pigment colors muddy, when reproduced. Now I nearly always scan my ink drawings before I add any color.
3. After the scan, I add color.
I use Adobe Photoshop and/or Adobe Illustrator to add color to my ink drawings. This gives me several advantages. I can make variations on the base drawing’s colors–or make versions in entirely different colors–depending on the effect I’m going for.
Using digital media makes it possible to make the same “base drawing” in several different color variations.
4. Create “pieces to print” pages.
Here’s where using the digital component really comes in handy. I normally export the color work as a JPEG, once I’m ready for the next step. This gives me a lot of flexibility. I can adjust the size of the printed images according to my needs, and I also can make a master “to print” page that contains several repeats of the image I want.
This is one of the “pieces to print” pages for Coming Through!, a multiple original edition I started in 2012.
5. Print copies of my “pieces to print” pages.
I always use archival-quality, acid-free paper and fade-resistant inks for my printouts. No ink is totally lightfast in direct sunlight or high humidity, but I try to ensure that with proper care I’ve used inks that will keep their bright colors as long as possible. I also like to print on several different weights of paper.
Whenever possible, I print what are to become the upper layers on 20-lb. paper, for maximum flexibility with strength. The Southworth Archival Business Papers I normally use take embossing quite well without tearing, and hold the impressions without losing their sculpted form.
I prefer to print the base layer for any image on heavier stock, ideally 62-lb. paper (sometimes I’ll print intermediate layers on 32-lb. paper, depending on need and availability).
2-up dragon wings, one of the “pieces to print” pages for my Common Cliff Dragon–Male multiple original edition.
6. Cut out the images.
Now comes what I call the “lap art.” Cutting out the images is exacting work, but it also can be tedious. I normally station myself in front of the television, with a lap desk or corkboard to catch the clippings, for this part. It’s also a great thing to do with my hands while talking on the phone–kind of like some people crochet or do cross-stitch.
A lot of people ask if I use an X-ACTO knife for this. In general, no. X-ACTO blades get dull way fast for this kind of work, and then they tear the paper. I vastly prefer a small pair of very sharp scissors for most of this work. Until they grow dull (which takes a lot longer), they give me considerably more control on curves or intricate shapes. If there’s an inner shape to cut, sometimes in that case I’ll use an X-ACTO.
Here are pieces of a Coming Through! in various stages of being cut out, on a corkboard with two of my more indispensable tools: small, sharp scissors and my favorite tweezers.
7. Sculpt the cut-out pieces.
Now comes the actual sculpture-part. I have a variety of tools, some originally designed for leather working or bookbinding, a few stolen from my old set of etching tools, and others taken from my pottery-making tools. They help me burnish, crease, emboss, and otherwise manipulate the paper (especially the 20-lb. stock) to stretch and mold it into 3-D bas-relief forms.
Here are some more of my favorite tools.
8. Assemble and glue together.
Once the pieces are sculpted, it’s time to put them together. Normally I ensure the raised forms will stay raised to the desired level by gluing little rolls of paper to the backs. These become the anchor-points for attaching upper layers to the heavier, lower layers.
Two layers of the Protector dragon: the 20-lb. layer is easier to emboss and crease. The 62-lb. layer (at right) anchors the sculpted top layer so it holds its form. The rolls of paper (on the back of the piece at left) provide dimension and anchor points.
If there are little creatures, leaves, etc. that are distinct parts (such as a dragon, a unicorn, a clump of grass, or a tree, I’ll sculpt and assemble them first, then layer them into the larger image I’m creating. Once it’s all assembled and glued together, it needs to dry at least overnight.
Once I’ve sculpted them and stabilized them on a solid base layer, I can create quite a bit of dimension, even at a very small size. These guys (made for the editions Protector [L] and Brave) would just fit into a 2-inch square.
As you can see, it’s a rather complex process from concept to finished piece. Sometimes a work is so complicated, I can’t face going through all that rigamarole more than once. Or perhaps I had to use some kind of hand-coloring or embellishment to finish it to my satisfaction. In such cases, there can only be one.
But for most of the pieces I’ve been making in recent years, my little printmaker soul can’t stand to do all that work and only end up with one piece as the final product. Instead, I’m turning them into limited editions–but as you see, each is made individually by hand, and if you look carefully it’s easy to see small variations. Thus, each is unique: a true multiple original.
A Common Cliff Dragon–Male waits to be matted. Pieces need to dry at least overnight, after they’ve been sculpted and assembled.
So far, all my editions are limited to 25 copies. I figure that’s about all of any one design I’ll be able to stand making, and by then I’ll have made others I’m more interested in doing. Unlike traditional plate-based multiple-original print editions, however, I’m discovering that as I make these pieces I find better and more effective ways to give them a truly sculpted and well-defined execution. I make each piece to the best of my ability, but the latter ones in the edition may actually be “better” than the earlier ones, thanks to the learning curve.
9. Sign, number, etc.
The piece is not complete until it has been appropriately marked. A one-off original will usually have my signature hidden in it somewhere, but other times that’s not possible. In those cases I’ll sign and date it at the bottom.
The multiple-originals follow a more traditional numbering-and-signing format: the marking “AP” and/or a fraction-like number, frequently along with the date or dates (those also may be on the right), goes in the lower left-hand corner. In the middle, I’ll write the title in quotation marks. On the right is my signature. Here are a couple of examples, along with a guide to how to interpret those otherwise-possibly-cryptic markings:
This edition originated in 2017 and this particular piece was made in 2017. It is #2 of an edition of 25 originals. The title is Protector, and it was created by yours truly.
This one’s a little more complicated. It’s an Artist’s Proof (AP), the second of three experimental works I created from several printed pieces. I’ve been trying to find a good way to complete these pieces since 2013, but I think I’ve figured it out.
To alleviate the mystery a little more, each piece comes with an information sheet that tells about it and explains the markings.
IMAGES: All photos were taken by me of my artwork. You may use them unaltered, IF you include an attribution and a link back to this page. Thanks!
A I recently confessed, I’m a lifelong gardener. However, in the last few years Earth has had little need to “fear my botany powers.” After a couple of bad falls on the ice a few winters ago, it was hard for me to get low enough to garden. I needed some kind of raised bed for easier access.
Signy and Pascal created a sturdy base for my project last May. Later, Ty filled it for me.
Well, thanks to my Beloved and my long-suffering adult offspring, I’m back, Baby! My Mother’s Day present was a galvanized horse trough on a sturdy wooden stand, filled with rich, composted soil. This collection of creative solutions now sits on our back patio in easy reach of a hose, and I’ve been having lots of fun with it.
My cool-season crops (spinach, kale, and a leaf-lettuce blend from Morgan County Seeds) continued to yield regular crops of salads and greens well into what we Kansas Citians think of as “winter.”
As cold weather approached, Pascal and I made a “dome” out of two basement-window-well covers, to protect my plants from the frost. On windy days (here at the edge of Kansas, we get a few of those), a bungee cord holds it down. It’s not excessively elegant, but it works.
But then it snowed. It got really cold. I thought when temps hit the single digits that my horse-trough garden was a goner.
I was wrong. Under the dome, it’s alive! How can this be? Fortuitous placement, it turns out. Back in May, we set it up right next to a furnace vent. The air goes out, and directly up under the edge of my makeshift dome. You can see the life-giving vent pipe at lower right in the photo below:
We’ve gone through two rounds of single-digits and snow, now, and each time I’ve gone out as soon as I dared, uncovered the garden, added a couple quarts warm water, and my crops have come back to life. In fact, I really need to harvest again.
Potatoes in the Hab, from The Martian: now that’s extreme farming!
I’ve started thinking of my little survival-miracle on the back patio as “The Hab.” (For Christmas, my son gave me a copy of The Martian, by Andy Weir.Thanks, Ty!). My horse-trough garden is not as amazing as “Martian potatoes,” but who knows? At this rate I might be able to harvest spinach all winter long.
IMAGE: I found this quote on I Like to Quote, but I made my own graphic for it in Adobe Illustrator, using a photo I took in December 2016 as my background. Use it if you like, but please include an attribution and a link back! Thanks.
That’s what I keep trying to remind myself. There are some things that can’t be totaled up or capped off until after the fireworks go off at 12:01 a.m. January 1.
For days now, I’ve been planning to write a blog about “desk piles of the future” (considerations of what we might clutter our offices with, in the purportedly “paperless” future).
This was gonna be the week!
This isn’t gonna be the week. Too many desk piles of of the present.
These are actually not my own personal desk-piles. Mine aren’t anywhere near this extensive and chaotic. These are more like a dramatization of how mine feel at the moment.
So please excuse this all-too-brief mid-week blog post, while I work on my 2016 Year Review, and my 2017 Year Plan With Interim Benchmarks, while also working on final revisions for Going to the XK9s and squeezing some art-making in edgewise from time to time.