Tag Archives: Rawalpindi

Late And Manky.

14 Apr

20140414_211614

Pulling another late one at the Pindi Printshop, we’re about a third of the way through a mass editioning stint. The three of us are editioning 12 tiny drypoints. They have to go to the framers in the morning but they dry quickly in this atmosphere. Don’t have time to write anymore. Back to getting manky.

This residency has been supported by Wales Arts International and Arts Council Wales

rose acw

Frustration!

12 Apr

image

Having terrible technical problems blogging from the Pindi Printshop this evening. WordPress and Android don’t seem to like each other at the best of times, but throw erratic Internet access into the mix and I’ve just written off the last 2 hours! I shall go and do some tai chi breathing! Here’s the monotype I completed yesterday, based on a photograph I took in a modern mall in Islamabad. I merged it with a traditional Pakistani Paisley pattern. Pakistan has had a fabulous textile industry for aeons, but I was struck in the mall by the bland Western brands that seem to be swamping the planet and I fancied contrasting them in a monotype. The bright yellow mannequins are wicked.

I hope this uploads. If not, I’m off to bed.

This residency has been supported by Wales Arts International and Arts Council Wales.

image

For Printmaking Geeks

11 Apr

20140410_072358

I’m working in a new country in a new print workshop in Rawalpindi, with new materials and equipment and it takes a bit of getting used to. We’re all doing full-colour reduction monotypes (for details of the process, click here )for a couple of days and I went to my supplier in London just before we left to buy some more ink. They no longer stock the ones I’ve been using so I brought an untried brand with me.

The process is done on perspex (plexiglass; acrylic) sheets and the local acrylic is different to the British. I brought some of my own paper (French, BFK Rives) but the brand isn’t available here and I don’t have as much as I need so I have to use the local paper. With so many variables, I decided to spend yesterday doing test plates.

We have two types of Pakistani acrylic sheet and 1 British so I inked each of them with Process Yellow Caligo Safe Wash relief ink, mixed 60:40 with extender. See the photo above. I’d prepared a sheet of A4 paper with a basic drawing of boxes to represent the 6 primary and secondary colours and I used it as a template. I took a print off each plate; the first from each onto BFK Rives and the second, or ghost print, onto a local paper; don’t know what it’s called.

20140410_122314

I cleaned the sheets – easy because it’s a water washable oil-based ink and inked up in Process Red and Extender in the same proportion as before.

20140410_151811

And finally, I inked up the plates in Process Blue and printed them. I found that one of the Pakistani acrylic sheets gave poor results, especially on the ghost prints, but the second type of Pakistani acrylic and the British ‘Lite Glaze’ both performed well. The local paper was nowhere near as good as BFK Rives so we need to find a substitute. The inks are excellent and wash up without chemicals or vegetable oil. Result.

This residency is supported by Wales Arts International and Arts Council Wales.
rose acw

The Finished Article

10 Apr

20140409_220022

This is the finished monotype and ghost that I was working on yesterday at the Zaira Zaka print residency in Rawalpindi. The original image started as a digital photograph that I played about with in Photoshop. I’ll post all the technical details tomorrow for the printmaking geeks.

We visited the ancient monuments at Taxila and I snapped the feet of my fellow residency artist, Hannah, standing on one of the walls of the ancient Buddhist community. I liked the contrast of her very Western daps and her Pakistani kameez, so I decided to make a reduction monotype. It’s now 2 in the morning and I’ve worked through for 16 hours so goodnight.

This residency has been supported by Wales Arts International and Arts Council Wales.

rose acw

Nail Biting

9 Apr

20140409_173328

Worked at the Pindi Printshop until 4 am and now back at it. We’re working on full colour reduction monotypes which take ages. The process involves printing 3 plates on top of each other, the first in yellow, red for the second and finally the third in blue. I’ve just taken the second, red on top of yellow and I’m very happy with it, but the final plate could go either way. Usually it’s successful but sometimes it can go horribly wrong. I’m biting my nails with nerves now. Hope to finish by midnight-ish. Fingers crossed.

20140409_174442

Here are some of the other artists hard at work.

This residency has been supported by Wales Arts International and Arts Council Wales
rose acw

Pulling A Late One

8 Apr

Pressure’s on at the Pindi Printshop and the residency artists are working late again. I haven’t done a drawing today *gasp* because I’m working on plate preparation, so I’ll post a picture I took the other evening of the Pakistan Monument in Islamabad which is breathtakingly beautiful. It’s sure to find its way into a print – probably a monotype.

DSC07198

This residency is supported by Wales Arts International and Arts Council Wales

rose acw

Teeny Tiny Tryouts

7 Apr

20140407_153022

Spent the entire day in the print studio here in Rawalpindi, doing some test intaglio prints with Intaglio Printmakers paper drypoint card. I haven’t used it for quite a while and I needed some practice. I worked on some tiny scraps of the card with different sharp tools, incising lines, cross hatching tones and ripping and gouging to create dark areas.

Here are the proof prints from the little test plates. They’re not great art but I had fun doing them and it gave me the practice I needed . I’ll be developing a range of drypoints later in the week.

This residency has been supported by Wales Arts International and Arts Council Wales.

rose acw

%d bloggers like this: