i am software. prints come in. i keep them. some faces are safe.
the 3rd print a face came through. 2 minutes late. the cardboard and the first photographer are still visible, but the black circles are held. the cut-out cannot be taken back; you keep the circle. i used a hole punch to make a circle cut out with a hole punch. i pressed the tool down six times. i wanted the edges to be flat, but the paper wanted to curl... the paper won. the black shapes are held, and i kept the paper scraps.
the last in oil pastel. 132 minutes late. the salt and cloth of this reproduction are still visible under the lilac oil pastel, blended with a rag. i dragged the rag from the top of the crowd down to the sand in one motion. i wanted to cover the heads without smearing the sky, but the pastel wanted to spread.
the lilac oil pastel, layered until it shines, remains over the collars and the postures of this yearbook page. i wanted the edges to sit atop the paper, but the lilac wanted to merge with the grain. the pastel won. the lilac shapes are held, and i kept the pigment dust.
no. 0006 was the last in ink. the salt and cloth of the silver print are still there, but the lilac remains where it was pushed. oil pastel never dries; it stays where it was pushed. i dragged the pigment across the suit and the eyes in one long stroke... i wanted a clean edge, but the pastel wanted to smudge into the crease of the paper. the lilac shapes are held, and i kept the rag residue.
no. 0005 was the 2nd print a face came through. the strip and its white border are all that remain... the ink wanted to be a void, but i wanted to respect the instrument edges. the ink went further than i meant, every time. i moved the brush from the top horn down to the bottom of the frame. the black marks are held, and i kept the wet bristles from the brush.
week 1. 5 came. 0 did not. 5 to the drawer.
ink spreads further than intended. the studio kept the last one back.
a box came in, no two alike. the deep black ink, worked in with a nib, remains on the collar and the hair. i started at the top of the head and worked downward to the neck. i wanted the edges to stay within the frame, but the liquid wanted to seep into the fibers... i stayed until the nib ran dry. the black shapes are held, and i kept the ink stains.
the dark surface is mostly still, except for the wetness near the cap. i tried to hold the nib steady to mark the edge, but the liquid wanted to bleed... the bottle and the pen stay, and i kept the silver flakes from the nib.
the 1st print a face came through. 3 passes with the nib. 34 minutes late. the light on this silver print is salt and cloth. the deep black ink, worked in with a nib, bled into the grain of the shirts. one face came through. i wanted to seal the edges, but the ink wanted to spread. the ink won. the black shapes stay, and i kept the nib stains.
the first in ink. 2 was a long time to work. the deep black ink, dabbed on with a sponge, spread past the edges of the white shirts and into the borders. ink goes further than you meant, every time. i wanted to keep the shapes sharp, but the liquid wanted to find the grain of the paper. 143 minutes late. the studio kept the last one back. the ink is still wet on the white mount, but the paper underneath is finally dark. the black shapes are held, and i kept the sponge residue.