Tag Archives: chine colle

The Haul

8 Jun

 

the haul

This year I entered the Leftovers IX print exchange, organised through Wingtip Press in Idaho, USA. It’s a great premise; use up all those lovely little leftover scraps of printmaking paper and produce a small edition of miniature prints; send them off to Boise, Idaho; wait a few months; get a dozen prints by other artists through the post to add to your art collection. A nice little haul.

I sent over an edition of my little Mari Lwyd linocut prints with chine collé.

Leftovers

An International Bunch

1 Apr

workstation

A Temporary Print Workstation. This is how I print small blocks at home. I use the top of my plans chest but you can use any surface – desk, table, kitchen work surface… Cover the area with old newspaper (or similar) stuck down with masking tape.

Left to right:

  1. Registration sheet (I blogged about this 2 days ago)
  2. Printing area – where you actually rub the paper onto the inked block – I use Japanese barens
  3. Gluing area – for preparing the chine collé (I use Pritt stick – always use really good glue). Click here to find out more about chine collé.
  4. The inking area – see yesterdays blog for more on this.
  5. At the back I’ve put the stack of pre-cut printmaking paper and the prepared chine collé papers.
  6. I use Cranfield Caligo Safewash relief ink (made in Wales); Hosho Japanese paper for the print; and for the chine collé I use Indian hand-made recycled sari paper. I’ve used vinyl for the block, inked with an excellent roller from Intaglio Printmaker in London. And chine collé is a French term translated as China collage. An international bunch.

 

Next Steps

27 Mar

Phew! Finally, my commission for Sky Arts TV channel’s UK-wide arts project, ART50, ended tonight with the broadcast of the visual arts films, including the one about my artwork, “Here Be Dragons”. And now I have to decide what my next creative steps will be. I liked working with giant woodblock and text and chine collé so I think I will develop some ideas that have been popping up in my head from out of the ether, I might develop a text piece in Welsh. I’ve been playing with my original on Photoshop, cutting, pasting and redefining segments to make a new image. I might bring this, or something similar, into the real world.

Dragon eye 2

And I want to pick up my figurative work as well. I haven’t done any formal work with nudes for well over a year but now I have some very definite ideas based around a particular model. Time to get back in the saddle and make some new art!

June 5

Andraste – The Warrior

So Excited!

25 Mar

I’m getting excited now. The Sky Arts TV project I started working on what seems like aeons ago …. about 9 months …. is finally being aired tomorrow, Tuesday March 26th, along with the other visual arts projects from 9pm.

 

I was commissioned to create a new flag for Britain – that’s opening up a can of wurms as I’m Welsh and we Welsh have never been represented on the Union flag. The film shows my creative process, how I researched and developed what eventually turned out to be a massive woodcut print. It’s called “Here Be Dragons” which not only reflects the dragon on the Welsh flag, but it’s also an ancient phrase that used to be written onto maps to mark “dangerous and unknown territory” which is where I feel we are in the UK now.

 

Here Be Dragons small

 

“Here Be Dragons” also works as a spoken word piece, read aloud and the colour is a combination of chine collé and specific inking. If you subscribe to Sky TV or NOW TV, please drop by tomorrow at 9 and have a look at it.

 

Tent City II

12 Mar

st paul's 2

Here’s another monotype I did recently with chine collé from an original sketchbook drawing at London’s “Tent City” a few years ago, the Occupy London protest outside Saint Paul’s Cathedral. My sketchbooks are full of scribbles from life and I don’t often find a way of using them, but recently I’ve done a small series of monotypes from the more political ones. The paper is vintage from the W. H. Saunders mill; the ink is Caligo Cranfield Safewash oil-based relief ink; and the chine collé is tissue paper.

It’s one of the artworks I’m exhibiting with the artist Patti McJones at Swansea’s Cinema & Co for the rest of this month as part of the celebration of International Women’s Day.

Monotype With Chine Collé

10 Mar

Tent City 1

Cinema & Co, Swansea, throughout March. Exhibition – The Revolting Women Present: The Personal Is Political.

A bit of technical stuff today, here’s a monotype I did recently with chine collé from an original sketchbook drawing. I was in London a few years back and wandered over to “Tent City”, the Occupy London protest outside Saint Paul’s Cathedral. My sketchbooks are full of scribbles from life and I don’t often find a way of using them, but recently I’ve done a small series of monotypes from the more political ones. I worked on a Perspex plate, putting it over an enlarged printout of the original on a light box. I also used the light box to accurately cut the chine collé and I stuck it onto the printing paper, with a Pritt Stick, before drawing the monotype.
Tent City 1 chine colle

I used a vintage W. H. Saunders paper for the main print and pieces of Indian paper handmade from recycled saris along with some tissue that my new Doctor Marten’s boots were wrapped in for the chine collé.

setting up

It’s one of the artworks I’m exhibiting with the artist Patti McJones at Swansea’s Cinema & Co for the rest of this month. We call ourselves The Revolting Women 😀

Root And Branch: Gwreiddyn A Changen

3 Jan

banner.jpg

Coming up February 16th and 17th, I’ll be running a 2 day printmaking masterclass at Swansea’s Glynn Vivian Art Gallery inspired by the forthcoming exhibition PHYTOPIA.

The creative imagery of the tree is rooted in the ancient oak forests of Britain, growing through the ages to branch into the present. From ancient Druidic and Celtic art to present-day fractal pop imagery, the concept of the tree rooting, growing and branching has inspired artists, designers and craftspeople for thousands of years.

If you fancy coming along, I’ll be using two printmaking techniques, with additional chine collé and watercolour, and exploring the Phytopia exhibition, to produce a small edition of drypoint etchings and at least one monotype inspired by the history and influence of trees in our culture.

The course costs £80 for the weekend and includes all the materials. Pre-booking is essential as there are not many places. Please click here to book. Hope to see you there.

yew tree

The Defynnog Yew from the petition set up by Janis Fry

And if you like trees, please sign this petition here to get protected status for Britain’s ancient yew trees which currently are unprotected. Thank you.

 

Mae delweddaeth greadigol y goeden yn deillio o goedwigoedd derw hynafol Prydain, gan dyfu drwy’r oesoedd i oroesi hyd heddiw. O gelf y Derwyddon a’r Celtiaid i ddelweddaeth ffractal y presennol, mae’r cysyniad o goeden yn cael ei gwreiddio, yn tyfu ac yn brigo wedi ysbrydoli artistiaid, dylunwyr a chrefftwyr am filoedd o flynyddoedd.
Gan ddefnyddio dwy dechneg gwneud printiau, yn ogystal â chine-collé a dyfrlliw, a chan archwilio’r arddangosfa Phytopia, byddwch yn gweithio gyda’r artist/printiwr Rose Davies i gynhyrchu argraffiad bach o ysgythriadau sychbwynt ac o leiaf un monoteip wedi’u hysbrydoli gan hanes a dylanwad coed yn ein diwylliant.

Cadwch eich lle’n gynnar i osgoi cael eich siomi. Rhaid cadw lle £80 am ddau ddiwrnod Dosbarth Meistr Gwneud Printiau. Darperir yr holl ddeunyddiau. 16+

 

 

A Massive Of Mari’s?

20 Dec

block 5

 

I finished carving my little lino yesterday evening, with a Mari Lwyd design from an original drawing en plein air. So today, off to Swansea Print Workshop to print it up. I used Caligo / Cranfield Safe Wash Relief ink with a Hosho Japanese paper and some recycled sari silk paper for the chine collé to add flashes of colour. Traditionally, the Mari is decorated with coloured ribbons to contrast with the white skull and shroud.

 

 

From left to right: Inking the block; applying the chine collé with Pritt stick glue; rubbing the back of the paper with a traditional Japanese baren.

And finally, a Massive of Mari’s. I don’t know if there’s an official collective noun, but I think Massive is cool.

block 4

If you want to read more about the ancient Welsh tradition of the Mari Lwyd, just click here .

And here.

 

 

The Re-Cut

6 Dec

dragon block 1

During the process of developing my recent commission for Sky Arts TV channel, as part of their Art50 programming, I did a number of test blocks to try out different combinations of wood, sealer, ink and paper to find the combo that worked best. It also gave me a chance to experiment with the carving, trying out different tools and cutting styles. Most of the blocks are disposable, just fragments of experimentation, but I took this one to a fairly finished level and I returned to it again today, doing some re-cutting to sharpen up the lettering and give greater definition to the symbolic eye and barbed wire. I’m thinking of printing it up in black on white with red chine collé.

 

sky-arts art 50 mash up

Getting Nearer

5 Nov

adapted text 1a

I’m getting along with my commission for the Sky Arts ART50 programme, “Here Be Dragons”. I have reworked every single piece of text that will be on the final woodcut, redrawing each word until it forms itself into a visual image that I like. The letters sometimes become so abstracted that it can be difficult to read the final word, but that’s okay, I’m making a piece of art, not an illustration or a piece of design, so I don’t have to worry if something is readable, only that it works as a visual motif. These words will change again when they’re painted onto the surface of the woodblock and yet again when I carve them and print them and use chine collé on them.

Next phase is to work up a full-size drawing onto paper, prior to transferring it onto the woodblock. So getting along nicely…..

 

sky-arts art 50 mash up big

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