Tag Archives: printmaking

Tent City

13 Feb

tent city

Back in 2012 I was up in London for a couple of days and looked in on the Occupy London camp outside St. Paul’s Cathedral. I had a scribble, it was a higgledy piggledy mass of multi-coloured tents and ramshackle structures and it was great to draw in my little sketchbook. This is a detail of a larger monotype I’ve just done, based on my original drawing. I’ve used Caligo Cranfield Safe Wash relief ink onto a lovely vintage paper by WH Saunders and various tissues for chine collé to add splashes of colour.

This monotype will appear in my forthcoming exhibition, “Revolting Women” with artist Patricia McKenna-Jones, on International Women’s Day, March 8th at Swansea’s Cinema & Co.

 

 

Vintage Paper

12 Feb

demo 2

Here’s another monotype in progress with chine collé to add colour. I’ve used a beautiful vintage British paper by W. H. Saunders that found its way to me from an elderly retired printmaker and bookbinder via a print dealer and connoisseur. The chine collé is hand-made recycled silk sari paper with lovely fibres running through it.

This will be shown at a new exhibition to celebrate International Women’s Day on March 8th at Cinema & Co in Swansea. More about that here...

Splashes Of Colour

11 Feb

demo 1

Here’s a new monotype based on an en plein air sketch I did a while back. I scribbled it into a sketchbook, a demo outside Swansea’s Waterfront Museum about the working conditions of lower-paid staff. I used tissue paper as chine collé to add splashes of colour. I’m doing a series of prints based on my sketches for an exhibition at Swansea’s Cinema & Co on International Women’s Day on March 8th. More about that tomorrow….

 

The Ghosts Of Drawings

10 Feb

mono plate 1

I’ve been busy making monotypes today, ready for International Women’s Day and an exhibition I’m organising with Patricia McKenna Jones. We have both been drawing into our sketchbooks for many years and we’re working some of our sketches up into prints. Here are the ghosts of the drawings on the inked-up Perspex, the prints will be revealed at the exhibition. More on that later.

 

 

 

A Happy Accident

26 Jan

 

poster

Exhibition: “Female Expressions”, Saturday 2nd – Saturday 23rd February. Queen Street Gallery, Neath.

This is an etching of mine called “Ripples” made from an original life drawing, working with a professional model. It’s part of a series of etchings of the nude which I called “Rinascere” which relates to the word Renaissance because I based the etchings on Renaissance drawing techniques. I call it Ripples because of the ripples moving over her body which were an accidental effect of the process. I used a photosensitive etching plate from a drawing on tracing paper. It looked all right but after it had been exposed in the UV light box, I noticed ripples on the plate from the slight undulations on the tracing paper. They were there because I used wet media for the drawing. But I like it, a happy accident. It’s going to be in the “Female Expressions” exhibition.
ripples

 

 

 

Coming To Neath!

25 Jan

cushion crop

Saturday 2nd – Saturday 23rd February. This is a detail of “The Cushion”, one of my etchings that will shortly be in an exhibition called “Female Expression” in the lovely Queen Street Gallery in Neath.

It’s part of a series of etchings of the nude which I called “Rinascere” which relates to the word Renaissance because I based the etchings on Renaissance drawing techniques.

According to the exhibition’s curator, Jocelyn Prosser, this is…
An exhibition celebrating the female form. Each artist will give a unique and deeply personal expression of the female condition. Although diverse there is a bond in this exhibition that connects. It reveals the strength and fragility within the female psyche.”

 

Carry On Carving

24 Jan

cut 2

Carrying on carving my block of MDF, it’s very slow…..

The First Cut

20 Jan

 
20190120_115551-1169128395.jpg

The first cuts, carving my new woodblock (MDF), removing the bits to remain white. I’m using the smallest gouge from my Flexcut carving tool set and it’s going to take me ages at this rate, so I might rethink things a bit.

Getting Ready To Carve

18 Jan

block prep 6d black

I carried on preparing a sheet of MDF for my next woodcut. After I’d reversed my original drawing and traced it onto the wood, I painted in the different colours that I need to cut away. It’s a reduction print, often called the “suicide” method by printmakers as the process results in the complete destruction of the block.

Left to right: Tracing the outline onto the MDF sheet; blocking in the white areas with acrylic paint; and the mid-tone areas with dilute walnut ink. This is the basic design, I’ll put a lot more detail into the block as I’m carving it.

A Big Box Of Pencils

13 Jan

 

tracing 3

I did a bit more work on my next woodcut today, making a tracing from my original drawing to transfer the image onto the wood block. I used a thick charcoal pencil for the tracing because I have to turn the tracing paper over to reverse the image onto the wood. Once the reversed image was in place, I drew over the thick charcoal lines using a smaller 2H pencil which gave a fairly fine line. Finally I took the tracing paper off the MDF and went over the faint trace lines with a B pencil, which gives good definition without being too smudgy. I have a big box of pencils. It’s really nice.

tracing 5

I bought the box at a very reasonable price from the Derwent Pencil Museum in Keswick in The Lake District. It’s a fabulous little gem of a museum, so informative and a great place for graphite geeks to hang out. Just outside Keswick is an old graphite mine, which is why the pencil industry took root there. And it has a factory shop, with cut-price pencils and boxes!

From left to right: tracing over the original drawing; the tracing reversed onto the block of MDF; going over the faint trace lines with a darker pencil.

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