Monoprinting with nature

The (communal) print studio is currently concentrating on monoprinting and whilst there is some latitude to deviate from this it can become a problem with multiple people wanting the presses set at different pressures.  So with that in mind I stuck to the designated technique and had a bit of fun playing with dried plant material and fabric trim.

Oil based inks – sepia, yellow ochre, olive green ( diarylide yellow & black), 250gsm Hahnemuhle paper.

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2020 02 24 Image of the week

David Frazer, Woe II, etching, 2002, 52.5 x 40cm

What can I say?  What a masterpiece.  Wouldn’t mind that on my wall.

Resource:
http://www.dfrazer.com

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Printing with water-colour

I’ve spent a week playing with water-colour paints, exploring how they can be transferred to print paper outside of the normal landscape or still-life painting arena.  In the past I’ve gone down the traditional route of water-colour painting and haven’t found it works for me but as I have the supplies I thought it would be interesting to see how they could be incorporated into art pieces that use my print making skills.

So, initially I’ve been looking at what effects I can achieve with water-colour.  Later I’ll start overprinting with oil-based inks through a printing press.

Variable water effects, directly on to paper

Dribbled paint on plastic & paper

Dribbling + water-soluble crayons on plastic & paper

Dribbling + stencils on plastic & paper

Stencils on paper

Dribbling and drawing with water-soluble crayons & pencils on plastic & paper

An interesting exercise and it’s given me food for thought about where to go next with this idea.

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2020 02 20 Image of the week

Maggi Hambling, Rosie, ink on paper, 1963, 48.3 x 34.9cm

Resource:
http://www.maggihambling.com/work

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Etched lino: Two colour print

In late December I recorded my initial etched lino process and single colour prints from two of the lino plates.

On my return to the studio a couple of weeks ago I intaglio inked one of the lino pieces in orange with a roll-over in sepia.

The design definition is strong, the colour choices work well and I’m pleased with the outcome so far.  There’s further work to be done with this and my second plate, but currently the studio focus (being a communal space) is on other types of printing so I may not get back to this for several weeks.

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Playing with my photo booth

Having taken some advice from a gentleman by the name of Patrick, a member of a photography group, I finally ordered and received a photo booth.  I can’t promise that all pictures will be perfect from here on, but I can promise that they should be evenly toned.

Over time, having been taking photos with a book shelf to one side and a window to the other hasn’t worked well so I decided to invest in a rigid booth with an assortment of openings, zippers, background colour choices, lighting and a light diffuser.  I already love it.

So, wanting to try it out, I painted an orange and blue abstract design.  Being opposites on the colour wheel is always a challenge and it doesn’t help that blue is my least favourite colour, but my decision was made.  I deliberately chose dynamic and brilliant versions of each and tinted them to a lighter hue to test how the booth lighting would cope.

The design brief was to initially draw one straight line, one wavy line and one shape, then apply colour to the individual sections.

Yes, it was cyan blue, just couldn’t face ultramarine.  There is a great optical illusion where the full strength cyan, abutting the orange, appears to lean towards the aqua green spectrum.  However, when looking at the piece once the orange part has been masked, it is definitely cyan.

I can honestly say this is a faithful photographic reproduction of the painted piece and the photo booth is spot on.  Taken with booth fully enclosed, front aperture open, full strength lighting and light diffuser.  Camera positioned outside the booth, set to auto and preset colour.  That’s about as technical as I’ll be getting, I expect.

Happy days!

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2020 02 10 Image of the week

Mikael Kihlman, Church on the Hill, 2010, drypoint, 13/30

I am delighted to have just purchased this print and hope to obtain another from the same series.

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