Tag Archives: Mari Lwyd

Precision

22 Apr

mari drop 3

Working with Andrew Baldwin at Trefeglwys Print Studio last weekend, I got in some practice doing a double drop print from my aquatint plate. It’s a very specific and precise process. After carefully printing in Vermilion and taping the print to the press bed before peeling it back, we put a heavy weight onto the etching plate to hold it exactly in place and then put a couple of Perspex squares tightly against the plate, along 2 edges, and again placed very heavy weights on them. Then the plate could be very carefully removed, cleaned and inked up in Prussian Blue.

The First Colour

21 Apr

mari drop 1

After inking up my little zinc aquatint plate with a Vermilion oil-based etching ink, I worked with etching expert, Andrew Baldwin, to print the first colour of a two-colour double-drop print. Working with utmost care, I taped the long edge nearest the roller before peeling the damp paper back from the plate. It’s imperative that nothing moves, not even by a millimetre.

Vermilion!

20 Apr

mari vermilion

I started making this aquatint plate back last September the first time I spend a weekend at Trefeglwys Print Studio, but it was the third plate I made that weekend and I didn’t finish it. So during my recent, second, visit to Trefeglwys, I prioritised finishing and proofing it. Here it is being inked up in Vermilion, the first colour in a double drop print process….

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.

 

Easy Peasy Quick Ink

31 Mar

prep 4

I often print small blocks at home as I can do them by hand and don’t need to use the fabulous Columbian press at Swansea Print Workshop. This is how I set up a little inking station without fuss or mess.

Stick some newspaper onto your work surface with a bit of masking tape.

Stick a piece of ordinary white paper down onto it, with masking tape. I used a sheet of A4 size white computer printout paper.

Stick a sheet of thin but sturdy PVC / plastic / acetate over it with some masking tape. I used acetate document covers you get with comb binding machines.

There it is. Easy Peasy.

 

 

Registration

30 Mar

prep 2

Yeah I know, really boring but so vital for printmakers. I’ve been printing up a simple one-colour linocut with chine collé as a small edition  so the registration is fairly simple.

 

 

After you’ve cut your printmaking paper to size for your edition, use one of the sheets as a guide to draw it out onto a sheet of ordinary white paper.

Then place your block where you want it positioned on your final print and draw around that.

Finally, stick it onto your work surface with a bit of masking tape AND THEN…

Cover it with a sheet of thin but sturdy plastic / acetate – I used one of those clear PVC covers you get with comb binding machines but any thin sheet of smooth, clear plastic will do.  Stick it down with a couple of pieces of masking tape.

 

Ready to print…

 

 

Chine Collé

29 Mar

chine 4

I have just printed an edition of my little Mari Lwyd linocuts with chine collé to add flashes of colour. I use hand-made paper made from recycled silk saris, a lovely range of colours and lots of fibres.

 

 

From left to right: ripping up the paper for cine collé, putting it onto an inked block – it must be glue side UP; taking the print with a traditional Japanese baren.

 

I used Cranfield Caligo Safewash oil-based relief ink in black, Japanese Hosho paper and Pritt Stick glue. Don’t skimp on the glue – I always use either Pritt or UHU. The combination of Safewash ink and Hosho paper is excellent for taking relief prints by hand. This little edition is heading off across The Pond to Wingtip Press in Idaho USA for the Leftovers IX print exchange.

Little Lino Leftovers

28 Mar

Leftovers

I had a busy afternoon printing up my little “Mari Lwyd” lino block for the annual “Leftovers” print exchange organised by Wingtip Press in Boise, Idaho, USA. Wingtip’s founder, Amy Nack, describes it’s beginnings,

After cleaning out the flat files and finding dozens of little scraps of printmaking papers jamming up the file drawers, the folks at Wingtip Press in Boise, Idaho realized they probably weren’t alone with the dilemma of what to do with all those too-precious-to-toss leftover paper scraps.
An invitation went out to fellow printmakers to participate in a print exchange to use all those lovely little leftover scraps to create a small edition of prints. Artists submit an edition of 15 prints of any size up to and NO LARGER than 5″ x 7″ and receive a dozen prints in return. One print is held for exhibitions and one print is included in a silent auction to raise funds for the Hunger Relief Task Force.”

It’s now in it’s ninth year and attracts entries from printmakers all over the world and also exhibits the prints internationally, across the USA, New Zealand, China and Wales.

Keep On Sketching

21 Jan

20190121_190414-1169128395.jpg

Sometimes the creative juices don’t flow like they should, there’s a few artists I’ve been chatting to online who are in the same predicament. I find it helps to keep working through it. You don’t have to create great art, just keep doing the exercises. It’s like a musician practicing their scales or chords. I like drawing with ballpoint pens, they flow nicely. I did these scribbles from photos of Mari Lwyds.

 

 

 

 

Doing A Stretch

16 Jan

gellionen 4

Sketching en plein air at Gellionen Chapel last weekend was like sketching anywhere else, the first one or two drawings are quick warm-up sketches, a bit like doing stretches before exercising or running. They get you into the mood, into the flow and also recognise that drawing is a very physical activity. This is my first sketch of the day, very quick, intuitive, getting a feel for the space that the subject occupies.

 

%d bloggers like this: