No pictures this week, I’m giving myself a breathing space to catch up. The last little while has been quite hard in RL, but I woke up this morning feeling things were more manageable again.
There are a slew of posts to catch up on, some of which might appear before tomorrow when this is scheduled. (Or not, but they are appearing now. 25:4:16)
Summer term starts this week at Morley College, with new projects to look forward to. I haven’t abandoned Starcharts or the Eleventh Dimension: they are just leaving off for a little editorial soaking right now.
I’m pleased to say that the more I learn how much there is to know about printing the happier I am. The next six weeks is a more in depth look at etching techniques. Before Easter I went out and bought some nice ink in blue and red so you might be able to guess the subject matter of the plates. I’m looking forward to seeing what kind of results I get. The final half term of the year is about producing a series of narrative dry points. It’s been a long time since I showed anything much representational here on my blog, so we’ll see how that goes. Let’s just say I brought some Spring Green ink along with the cerulean and ruby red.
Thank you for you patience.
This is my excuse and I’m sticking to it – the contents of this post has distracted me from posting regularly and keeping you all up to date with my activities.
Last summer i dropped into the mix a selection of abstract, colour field type images, without much explanation. The earliest images date back to around 2003-4 when I was still a college studying weaving. Since then they’ve been refined and pared down and reinterpreted and played around with. Sometimes I can think about them in terms of field, column* and strike, other times its – meh, or okay.
*Lately I’ve been thinking absence is a better term than column.
There’s an opportunity coming to investigate different etching techniques and I thought this subject would be appropriate. So I began to fill a new sketch book, all 120 pages, with new work. Read the rest of this entry »
Here is the finished image that I started a few weeks ago. It takes a couple of weeks to print a relief print, as you have to wait for the ink to dry between applications of the new blocks. Here follows an explanation of my dubious technique for printing with foam shapes. Read the rest of this entry »
Here are two # Starchart prints with colour and chine colé. Which leads into a Project for over the summer: decide what plates in which combination to print.
I guess an edition is meant to be a set of identical prints for sale. But I don’t think I could do that with out driving my self mad. Not least because of the fragile nature of the plates. I suppose that i’m also ever curious about what different things would look like.
I’m going to be putting the # starcharts on hold for the summer term and I have a lot to think about for this project.
*al a poupée – a technique where ink is applied to only specific parts of the plate. In the second image orange ink was applied and wiped in the cloud area. Then the after wiping the rest of the plate (of soft black) a yellow inked scrim was run over parts of the plate.
So this post is a bit of a work in progress. I am working out as I go along how the sticky foam pieces work in the letter press, and also how I can get lots of colours onto the ‘same’ pressing.
Lets start with a snap of the first plate. I’ve taken some prints from it already, that’s why it’s red. I’m now thinking about cutting it up so that i can ink the various elements separately, and make a second plate with shadows and a flat surface to put the vase on.
The first proofs should be dry soon so I can use them to work on this A3 sized composition.