Tag Archives: photopolymer plates

Tatts And Transparencies

1 Apr

01 acetate 2

I’m preparing a whole new set of photopolymer plate intaglios. I’ve chosen the sketches I want to make plates of, mostly from my sketchbooks and now I’m drawing them onto small (A6) transparencies. These two here are onto Mark Resist. It’s considerably cheaper than TruGrain and more stable than tracing parchment, especially with wet media.

This is one of our group’s older models, a retiree with lots of tattoos. I’m using a traditional dip pen and Indian ink to do the linework and on the one above, I’ve used conte crayon over a sheet of rough sandpaper to get the textured background.

01 acetate 1I’m using black oilbar to do the background on the second one, with a sable brush dipped in turpentine to work around the edges of the lines. The backgrounds need a bit more work then I need to do some tones on the bodies. In the past I used Indian ink wash but water-based media don’t seem to take too well onto acetate, so for these I think I’ll experiment with black oil paint, thinned to a wash with turpentine. It’s easy to remove if I make a mistake. Once the drawings are complete, it’s off to Swansea Print Workshop to use the UV unit to create the plates.

Come Up And See More Etchings [parental guidance]

6 Jul

Here are two more photopolymer plate [solar plate] etchings I did a couple of days ago. I’ve been told that technically, they should be called intaglio prints, not etchings because the metal isn’t actually etched. The male nude is redrawn from a sketchbook study I did about four years ago and I’ve reworked it several times in different monotype techniques. I like the awkwardness of the pose, the painful stretching of the head thrown back and held for quite a long time.This is our young soldier model; he likes to be challenged. He suffers for our art.

I’ve been incorporating text into my drawings and mixed media work for some time, but it’s much harder to do so with most printmaking techniques because you have to work back to front. One of the joys of this method is that you don’t have to draw and write a mirror image. I know da Vinci could write mirror text beautifully, but frankly, there wasn’t much else to do in those days – no TV, no Facebook, no Internet Scrabble, no blogging – so he had plenty of time on his hands 🙂

Tomorrow is the final day of the Swansea and Cardiff Printmakers‘ exhibition in Oriel Canfas, Cardiff – I’m invigilating from 10.30 – 4.30 if anyone’s around – pop in and have a look. And it’s the first of Ros Ford‘s 4-day Open Studio event at Swansea Print Workshop – please do go see the amazing work she’s done during her residency – the time has flown!

Come Up And See My Etchings

5 Jul

Finally, here they are, two of my newest little [A6] photopolymer etchings. There are more to come but I’ve just got back from life drawing at Swansea Print Workshop and it’s my bedtime, so I’ll post the rest over the next couple of days. Goodnight 🙂

Addicted to Solar Plates!

3 Jul

After the recent two-day course in photopolymer intaglio at Swansea Print Workshop I’ve become a bit obsessive to say the least and I am going into the workshop tomorrow to proof print the 4 A6 plates I completed last week and to expose another three plates from scratch. I’ve been experimenting with a different drawing material; the original plates were exposed from drawings done on Truegrain, but I’m going to use drawings on tracing parchment for the next three plates, which will be 10cm squared as that’s the maximum size of so many miniature print exhibitions nowadays. I’ve adapted these drawings from my sketchbooks – I don’t want to split up my sketchbooks and this might turn out to be a good way  to develop the work in them – I have thousands of drawings!

Solar Plates, Strawberries And A Cat.

28 Jun

Another busy day, drawing in the studio then picking strawberries down on the allotment – the weather has been really bad for fruit. The heat and humidity are perfect conditions for botrytis and quite a few of our strawberries have been affected, so we’re picking whenever there’s a let up in the drizzle. It was a lovely sunny evening so we made the most of it before I caught the second half of the life drawing session at Swansea Print Workshop. I also picked up the photopolymer [solar] plates that I exposed yesterday. There’s Little Ming, above, with them and below, with today’s strawberry bounty. She likes posing for photos. That’s her boiler with a view that she’s sitting on.

We did another huge pick of loganberries from the garden as well – lots of jamming to do this weekend!

A Life Drawing Quartet

21 Jun

Midsummer’s Day and we have torrential rain! It’s humid and horrible but it was life drawing as usual this evening down at Swansea Print Workshop. I made an elderflower and lemon drizzle cake for tea break and set out to do something different with my drawings tonight. I did a short course in Renaissance style drawing a few weeks ago and I’ve done the first day of a phtotpolymer printmaking course this week. I’m hooked on the technique but the plates are quite expensive so I’ve decided to start working on A6. My usual full-colour monotypes are A1, so there’s a huge difference. I prepared some handmade paper [bought from the Tate Gallery – it’s gorgeous and wasn’t too expensive] with sepia wash, ripped it into A6 pieces and worked on them with a dip pen and Indian ink, brushes and washes and did the highlights with a fragment of white conte crayon. I did the four drawings in an hour and a half and I think I have enough to work with and adapt for a couple of little photopolymer plates next week. Watch this space………


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