Archive | August, 2014

PRINTMAKING COURSES filling up fast!! September 2014

31 Aug

PRINTMAKING COURSES September 2014.

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INTAGLIO FOR BEGINNERS!!

29 Aug

There are only 3 spaces left on the *new* Intaglio for Beginners course starting at Wensum Lodge, King Street, Norwich. The leisure course starts on September the 15th and focuses on learning drypoint engraving and also zinc etching.

You will be introduced to a range of skills and given information on artists, suppliers and further printmaking opportunities. Its only a 12 week course but you can always sign up to continue the following term!!

Here’s the link for more info, just type ‘printmaking’ into the key word box:

https://enrol.norfolk.gov.uk/AvailableCoursesList.Asp?&ID2=,%20,%20&ID3=?ID1=,%20?ID1=,%20

Please share with anyone you think may be interested!

 

 

Thanks, L

‘Family Tree’ commissions

28 Aug

I am now taking commissions for hand carved and printed ‘Family Tree’ lino cuts.

Size and price will vary depending on how large your family is! However, as a guide the example below (A4) is £55 unframed.

I can also double print or do a reductive print for the same price.

Please contact me via email at slippersandhats@hotmail.com with any requests or queries. 

'Family Tree' A4 £55 (unframed)

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Rocking a Mezzotint

19 Aug

I started preparing a copper plate for a new mezzotint this week.  This process is quite long winded and involves passing a ‘rocker’ across the plate in at least 20 different directions. 

Rocking a mezzotint

Rocking a mezzotint

The rocker is a curved tool with tiny teeth that are designed to leave a row of dots on the metal surface that will hold ink. 

Rocking a mezzotint

Rocking a mezzotint

By ‘rocking’ the plate in several directions the surface becomes rough and covered in burs that will now hold ink and if printed at this stage the plate should print a velvet black.

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To create the image the rough burs are then scraped away and burnished to create lighter tones that will hold less ink.

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Below is a reminder of my willow tree mezzotint plate and the print taken from it.  This was one of my first successful mezzotints, and i’m glad to have finally got round to trying this method again! (however long it may take me!)

Willow tree Mezzotint in progress, this shows the mere foundations of where i've started to map out the image.  At this angle it looks like it's printable but there's a lot more work to do before it can be proofed!

Willow tree Mezzotint in progress, this shows the mere foundations of where i’ve started to map out the image. At this angle it looks like it’s printable but there’s a lot more work to do before it can be proofed!

 

It's almost there, I just want to define the edges a bit more and add some more highlights.

It’s almost there, I just want to define the edges a bit more and add some more highlights.

Monoprint/Etching experiments

18 Aug

I have recently started experimenting with the idea of the ‘multiple’ by playing around with an old etching and printing over the top of monoprints.  I bought myself a beautiful book called ‘Wildlife in Printmaking’ and came across some amazing monoprints which inspired me to consider using this technique more in my own work.

There are six main methods of monoprinting, some of which are more controlled, but on the whole the great (or perhaps frustrating) thing is that you never quite know what you’re going to get!

Different methods:

1. Positive – Rolling out a thin layer of ink, placing your paper onto the ink and drawing directly onto the back

2. Negative – After taking your positive print, place a new piece of paper onto the ink and rub.  This should pick up the negative marks.

3. Stencil – Using shapes to block areas of the rolled out ink. Also can be flipped over and double printed/layered.

4. Painterly – Painting the ink onto surface using different brushes and tools, laying the paper down and rubbing the back.

5. Reductive – Rolling out the ink and then using different tools e.g. pallet knife or end of a paintbrush to remove ink and make different marks before laying paper over and rubbing.

6. Found objects – Using materials, fabrics, bubble wrap, sand, folded paper etc to take ink away.  Then perhaps flip the materials over to pick up ink from the different textures.

Below are some of the examples of my experiments using stencils for my monoprints.  As you can see they come out quite differently each time!

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PRINTMAKING COURSES September 2014

10 Aug

Check out the printmaking courses taking place at Wensum Lodge, Norwich! There are 4 different courses available from September one of which is brand new!

Monday evenings 6-8pm: INTAGLIO FOR BEGINNERS *NEW!*
This is a 12 week course focussing on intaglio techniques including drypoint and zinc etching.

Tuesday afternoons 3-5pm: PRINTMAKING FOR BEGINNERS
Also a 12 week course offering the chance to try monoprint, lino cut, collagraph and drypoint.

Tuesday evenings 6.30-9.30: CITY AND GUILDS PRINTMAKING QUALIFICATION (Level 2-3)
A year long accredited course offering the chance to build a portfolio of work and develop skills to produce prints of a saleable quality. (Core projects: Design, sampling, collagraph, lino cut)

Friday mornings 9-1pm: CITY AND GUILDS PRINTMAKING QUALIFICATION (Advanced Level 3)
A year long course for those with some previous experience of art/printmaking, also building a portfolio with opportunities to meet practising artists and develop technical skills. (Core projects: Design, sampling, drypoint/etching, multiple block printing)

See the poster below for more info!

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