I worked on my Mari Lwyd mezzotint plate again, after doing the first state print on the second morning of the weekend course I did at Trefeglwys Print Studio. I needed to burnish the highlights a lot more and lighten the Mari’s feet. Then onto another proof print which turned out to be the final proof because I’m very happy with the quality of the image and I don’t think I need to do any more plate work. I used Charbonnel black etching ink onto soaked Hannemuhle paper.
I spent the first day of my weekend etching workshop at Trefeglwys Print Studio developing a mezzotint plate. With two other printmakers, I worked until quite late and got up early ready for day 2. I was ready to print the first state – which is the very first print off a plate, to see whether it’s ready to go or if it needs more work. Advised by Trefeglwys printmaker Andrew Baldwin, I used Charbonnel black etching ink onto Somerset paper, soaked for about half an hour. The print is nearly there ….. I need to strengthen the light tones around the head of the Mari Lwyd and do more work into the copper plate on the feet, which have all but disappeared. The tones on the clothing need to be lightened too, with a scraper and burnisher. It’s surprising how dark the image still is, despite looking quite light on the copper plate.
I spent a very busy and creative weekend with two other printmakers from Swansea at Andrew Baldwin’s Trefeglwys Print Studio in mid-Wales, studying his non-toxic intaglio printmaking methods. We started with the ‘faux mezzotint’ technique, using his own make of etching ground to create a pitted surface, like a mezzotint plate and then, after transferring our drawings, set about creating the image by scraping and burnishing light and white tones onto the surface of the plate.
It’s a long and detailed process and I worked on it all afternoon and into the evening, stopping for a meal and then back into the studio until about 9.30. We were all shattered so after a quick cup of tea, we hit our pillows by 10 pm.
Just back from a very tiring weekend printmaking course at Trefeglwys Print Studio. It was fantastic. I learned so much and came away with a number of prints I’d be happy to exhibit and two new etching plates to edition and an etching plate to work on and finish. Result. I’m shattered now though. The first thing we did was prepare a copper plate for a ‘faux’ mezzotint, a process invented by Trefeglwys printmaker Andrew Baldwin. I think the plate is a work of art in itself.
I had some drawings to work from, I decided to develop three plates from my sketches of the Mari Lwyd and the faux mezzotint will be based on the middle drawing. More tomorrow, off to bed now ……..
I love Marina’s blog, such an unusual approach https://marinamade.me/2018/09/04/wally-neuzil-muse-of-egon-schiele/
A very challenging artist. Contains nudity. https://wp.me/p3x4lI-1GW
Here’s another face in the crowd who got scribbled. I can’t help myself. Leave a bit of paper and a pencil on the table in front of me and this is what happens….
I’m back in the house for about 20 minutes between hearing the marvellous artist Marc Rees give a talk at the Glynn Vivian Art Gallery about his upcoming art extravaganza “Now The Hero / Nawr Yr Arwr” and heading off to life drawing at Swansea Print Workshop with my Samsung Galaxy Note 8 tablet (which I used to do this drawing) and a Victoria Sandwich. As you do.
Marc spoke in front of a backdrop of projected images, including many of the glorious panels by Frank Brangwyn, which are an integral part of Nawr Yr Arwr, so he’s in silhouette. I had to have a scribble. It’s what I do….
I spent a couple of days in London at a conference and there were a few opportunities during breaks for a quick scribble of faces in the crowd. I did this in about 5 minutes using an HB pencil onto the conference notepaper.
scribblah 