Oregon Art Beat; #1031; Earl Newman

Oh yeah. Oh, right. Oh. Just... nice I'm going to do a little bit more of this, I'm going to do a little bit more of this. I'm going to do a little bit more of this.

I'm going to do a little bit more of this. I'm going to do a little bit more of this. I'm going to do a little bit more of this. I'm going to do a little bit more of this. I love this one. I'm going to do a little bit more of this. So

it's a fantasy world with sky stars and starfish, which I'll draw in, but I haven't done yet. Is this a fun part of the process for you? Yeah, yeah. I'm doing this whole thing for a friend as an exchange thing. He makes wreaths, Christmas wreaths, and I told him I'd make something. So... How's it look? So when do you... The thing is, you know, it's easy to start. Where do you

stop? That's the rub. That seems awfully fast and simple, but I think that's all I'm going to do. I'm going to get all that paint. All right. I really don't want any more water, anything else, but I could put water if that's... I

think that's it. That's fine. That's fine. Is she can't put the paint back in the tube? Let's do it again if I get to use it, huh? Yeah, it's... Maybe there's something else I can do, but not right now. Oh, I've got some light, I know. You got to watch out. This stuff catches on. Jump saw on you. Okay. Okay.

Good. You know, I've been wondering why I've been saving this thing. Thank you. What do we do? I'll use you later down the studio. Cool. Yeah. If we can watch you do something, it's easier for us to talk about it than if we just see it. So seeing an example of it is nice if you want to just say you do watercolors. Yeah. No. No watercolors. Yeah. It's a whole... Yeah. It's a connection. This is watercolors I did in Japan. It's a

sketch for a poster. Venice. This was an idea for chocolate fantasy. Chocolate drawing. I didn't... They didn't choose that one. How long does it take you to do this sketch like that? Two hours, three hours. Once you get the idea, but it involves, you know. I visually was... I wanted this woman who was very particular. And she was just... She was concentrating on the flavor of the chocolate. And then these love the little things. I kind of like that one. This is wrapping paper. Brown wrapping paper. But it's a neutral warm color versus white. So it's...

It's easy to put highlights on it. Oh, that's about it. These are ideas. Up here. That's a pillow. It's a thing, sorry. That was for Macbeth. They never used that one, but I like that. My granddaughter came up here on a road trip from L .A. She and a girlfriend. Two years ago. So, like, what's the difference between these two Macbeth posters that you made? The two sketches that both... Like, when you look at them, how are they different? Well, they are different. But one was just the big use of red

by itself. And then it kind of brought him out. And the black over it was simple. There was a rest place, but added to the importance of Macbeth that way. And this one was the violence. And then the Macbeth. I try to use the dagger in the wording. And this face in the background. I don't know how it all comes about in the drawing. It isn't always here. It comes out in the process of sketching. You do one part and then you get an idea for, oh yeah, try it this way. But sometimes it's too extreme for the theatre. It gives to people. The teacup people.

They rather have... That's another story. But in general... It is, but it's a waterfall. That's okay. It's such a cool table. What do you actually use this table for? Well, it's a piece of paper on it. And kind of draw for chalk. And start drawing. Get an idea. And I use it basically for drawing. I don't know what to do. I don't know. I

don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I

don't know. I don't know. I don't know. I

don't know. I don't know. I don't know. I don't know. I don't know. I don't know.

I don't know. I don't know. I

don't know. You're doing great. And we really, really, really thank you for watching. Thank you very much. Thank you very much. I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box and I'm going to put it in the middle of the box

and I'm going to put it in the middle of the box and I'm going to put it in the box and I'm going to put it in the middle of the box and Coffee homeowners and. I mean, you know,

but it's a mask, it's kind of, you know, what's different when you're drawing then from when you're sub -screening or you're making a print for a sub -screen. Well, if I were, sometimes I'd just do a drawing and then I figure how do I reproduce it and how to reproduce it becomes complicated. See, sometimes I just do a sketch and use five or six or eight colors. Well, reality in printing is five or six screens to make that same idea

and sometimes I try to do with that, you know, following the original and other times I use parts of the sketch, maybe the black line to carry the story and then I'll do two colors of ink to pull it together. Oh, color blend. So, I don't know, this is just a little clay. I get more paper if you'd like to try some. We just might. It sounds like you think in layers when you're printing. Yeah, you do. You think of how many screens and what would come first, what would be the background? Should I be looking at you? Yeah, you can always look at me. Yeah.

Like composition, color background, how to tell the story in two or three layers of ink. So, it's kind of layers. The old posters I did way back in 1960, 1960, simple, one or two colors. And those were some of the best ones I ever did. I think that getting into too many layers of ink breaks down the image. And so, I think it's to be able to tell the story as simply as possible. Part of the charm of the whole picture is the simplicity of the... Yeah,

it's hard to stop. But anyway, let's have some lunch. Oh, what do you want to help? Yeah. Let's look at that.

I think some... Oh, that's movie? Yeah. Yeah. Yeah. Well, this is a rough sketch. This is the size we're going to do. This is an old poster I did. Pete Siga did that around

1965. Pete Siga is coming to the Monterey Jazz Festival. And that's a biggie to me. And he's folk music. But for jazz, you know, that's the first time. He's one of my heroes. And maybe it's that generation I'm in. The younger people, some people don't even know Pete Siga. It's anyway. So, I am doing a half size and I'm putting in a piece sign because that's where he's at. You know, he does a lot of piece action things and music. So, I've got these notes and music. Here's the black line. And I took the chalk right there and just colored in this roughly to get an idea of what

colors we would do this in. The one great thing about silk screen, you can add colors as you go along. And that means you can vary it. You can change it completely. And if I'm printing 30 or 40 posters, pieces of paper, that's like 40 canvases. They don't all have to be like. And that's the fun. So, what we're going to do is put on color and background color. This is one screen that I've got ready. And Michael and I will print this color blend. And then we'll go on to other colors. Does that make sense? Absolutely. This isn't much of a sketch, but anyway. Okay.

Take the paint. Yeah, we'll get the color. You know, I'm going to learn to do this myself. Hey. Thank you. That's a great color. And we rescued

that. Yes. And blue. This is kind of a mud blue, not much left. Now, we don't throw any ink away. I'll get used to it. They look like mud, but with another color, it's fantastic. All right. Just get it right in there. Yeah, hold it up for me again. Which one? Make that please. In art school, he used to squeeze paint out of a little tube. I've come to a place in my life where I can look into that color in large

amounts. And I feel very fortunate to have the volume of color in my life. They may sound like crazy, but it's fun. That's a beautiful blue. Ultramarine.

All right. Oh, Michael, could you get the pump started? All right. I think we can just get started.

This one is called empty. All right. Here we go. Let's see. How many are we going to print today? About at least a rack, maybe a rack and a half, so we don't need that one. We're here.

It keeps the oil -based ink from penetrating my skin, because the stuff always jumps out onto me for some reason. All right. All right. All

right. All right. Let's get the fan on, Michael. Fan on. This is where the mad scientist comes in. What do you think? Michael, anything else?

I think it looks pretty good. I think it looks pretty good. All right. All right. The first few colors

will be raw, kind of rough. They'll get smoother as we go along, and that's when it already has the black wine on it. Oh, really? All right. Not bad. Okay.

The first one was to register the color background to the black line. I think we can get started. I think we're going to have to go lighter,

but we'll save it. Okay. Let's say do we mark these from the next one. Okay. Let's get some more bass. Yeah. Yeah. I think we still have to go lighter.

Yeah.