Tag Archives: Kelly Stewart

A Greenfinch In Stages

9 Jul

 

greenfinch 1

Here’s a little greenfinch I drew recently, a stuffed one, very old and fragile. I took photos of the different stages of development using conté crayons into my A4 spiral bound brown paper sketchbook. I used the white first, then sanguine and finally black.

 

 

I spent a day drawing with a group of artists at Swansea Museum, organised by Swansea Print Workshop and the Edinburgh-based artist Kelly Stewart.

 

 

 

Bitterns And Stripes

8 Jul

Bittern 1

I think I’m falling for those crazy bitterns. I couldn’t take my eyes of them at a recent drawing day at Swansea Museum, they’re awesome…..

Bittern 2

I used my Issabey brushes and my home-made walnut ink into a Khadi sketchbook, using the double spread. I focussed on the shape of the group, doing a sort of negative silhouette and using those thick stripes to enhance the composition.

 

 

Crazy Bittern

7 Jul

 

crazy bittern 1

I’d never seen a bittern before and didn’t even know they existed until I came across this crazy-looking one the other day. He’s stuffed, unfortunately, which may be why he looks a bit mad.

I spent a day drawing with a group of artists at Swansea Museum, organised by Swansea Print Workshop and the Edinburgh-based artist Kelly Stewart.

crazy bittern 2

Here’s an earlier stage of the drawing.

 

 

 

The Finished Piece

15 Jul

finish front

It’s been a couple of weekends since I did the screenprint book course at Swansea Print Workshop with Kelly Stewart and I just realised that I didn’t blog about the finished piece. Well, here it is: the front above……

….. and the back below, showing the covers …..

finish back

And here’s everyone’s …..

everyone

The Book Covers

5 Jul
cover b

The front cover, printed and bound

Last weekend I did a short course in making a screenprinted book and part of the process was the covers. I did the designs with black acrylic paint brushed onto acetate and then scratched into the surface with a nail when it was dry. The hand lettering was done with a Faber Castell Pitt drawing pen.

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The book front cover design in negative

The design on the acetate was transferred to a photo-sensitive silkscreen and printed in white onto a dark cloth. Then the cloth was cut to size and glued to pre-cut boards before being glued onto the concertina screenprint to form the book.

The gluing process on the left and the finished back cover on the right.

Absolutely Shattered!

1 Jul
book h

Four ‘layers’ printed, two to go plus the covers…..

It’s the second day of the weekend screenprint book course at Swansea Print Workshop, headed up by Kelly Stewart, and I’m absolutely shattered. We did the drawings and design for it yesterday and today we printed, working at a fast pace in a heatwave!

book a

My work station ready to begin

Yesterday, I produced 6 drawn images on acetate for the interior, plus two for the covers. We started today by setting up our work stations, then mixing inks – Daler Rowney System 3 acrylic paint mixed 80:20 with screenprinting medium and a little water to loosen it to a soft dropping consistency, like a Madeira cake mix, I thought.

Then the printing started, beginning with the background ‘layers’ and working through to the foreground ‘layers’. But before screening onto the prepared book paper (Somerset 250 gsm) I printed each image onto newsprint to check the colour and clarity of the images. I’ll show you the rest tomorrow……

 

 

Out Of My Comfort Zone!

30 Jun

Today! Right out of my comfort zone!

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Designing the book cover

 

I’ve been at Swansea Print Workshop on day one of a weekend course with the excellent printmaker Kelly Stewart. I’m learning how to make a hardbacked screenprinted concertina book inspired by my drawings.

I started with a group of mixed media drawings of Neolithic Standing Stones I had done some time ago, a series I called ‘Yr Helfa / The Hunt‘, done en plein air across South Wales. But it’s often a problem trying to develop work from one genre to another because no matter what ideas you have, you are constrained by new techniques and materials that you haven’t experienced before.

It was hard work and by midday I was almost ready to throw in the towel and leave. But I persevered with Kelly’s encouragement and eventually came up with six drawings / motifs that will be printed and overprinted to form the book’s interior and designs for the front and back covers. I photocopied them onto acetates and Kelly transferred them, via the ultraviolet unit, onto prepared photoscreens. All set for tomorrow now.

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