Let me introduce myself: I'm Janet Davis, an artist and entrepreneur living and working on the North side of Bonavista Bay, on the island of Newfoundland in Eastern Canada. There are many challenges to running a business here in a small rural community, and there are many wonderful benefits too. This blog is where I share some of those challenges and triumphs, and share what it's like to live in this part of the world.
I really miss getting visits from the local school children. Most years, one or two of Memorial Academy’s teachers bring a gaggle of kids the few doors down to my place so I can show them what I do here. Hopefully, next school-year, we can resume the visits!
So, almost 12 years have passed, and I’m still doing the same thing. Is that good? Is that bad? Hmmm. I guess we can determine that I am not a quitter! Persistent, or stubborn? Sure. Family traits are hard to swerve around.
The thing is, I have been trying my damnedest to make my small business a successful venture since 2002. I am still not really successful, although my team and I have come a long way since then, especially with the addition of Norton’s Cove Café. I love my work. I love making artwork, I love the paperwork, I love getting new products in at the shop, I love trying all the new things to eat at the Café, and I love writing and re-writing my business plan to make room for new developments. I love meeting people in my studio, and I really love seeing my community support this small business.
I have reapplied to ACOA to help finance my Norton’s Cove Rooms project, and I definitely won’t be able to go ahead with that part of my business plan without their assistance. My fingers, toes, and eyes are crossed while I await their response.
I am fully invested in Norton’s Cove. If I fail, I will have nothing to show for the past 19 years of work. So failing isn’t an option. And the Rooms @ Norton’s Cove is THE bit of the plan that’s going to bring it all together. IF I can raise the funds to get it built this year. Cross your fingers for me, won’t you?
Tracing the drawing with carbon paper facing the back of the paper, to create a mirror image.
After tracing the mirror image onto the linoleum, and making good solid linework with a brush and India Ink, much of the linoleum is removed with v or u shaped carving tools.
The plate is cleaned of any drawing materials and dirt, and inked up with a rubber brayer.
The first Trial Proof, on Canson Edition cotton fibre paper.
The same proof with watercolour added.
Second Trial Proof on specialty paper.
A reddish ink on yellow rice paper: Trial Proof # 3
This paper is rather the colour of a sculpin, with camoflage-like markings, fitting of the ultra-camoflauged sculpin. Didn’t turn out all that fab, but…
For Trial Proof # 5, I increased the pressure on the etching press and pulled a second proof from the same ink, showing the impression of the thread marks in the paper from proof # 4.
Trial Proof # 6 & 7 are printed by applying watercolour directly to the printing plate, drying, then rolling the ink over top. The dampness of the paper fibres and the pressure from the press allow the dried watercolours to release into the proof.
Today I’ll be editioning this ‘Whip Sculpin’. I’m still trying to decide how many I want to print, but I’ve narrowed down how they’ll look. Stop in the studio for a look at how they’re made, and find out which trial proof I’m using as my guide to print the edition. Alexis Templeton and I also plan to make a few platters as part of this edition by embossing clay slabs with the printing plate, an exciting technique we’ve been playing with for a while.