Tag Archives: mezzotint

20% off my ETSY shop!!

25 Oct

I’ve added a 20% off coupon to my ETSY page until the 11th of November!

Selected prints from my portfolio are available, just make sure you enter 20PERCENT when ordering!!

https://www.etsy.com/uk/shop/lwhiteprints?ref=hdr_shop_menu

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Woolwich Contemporary Print Fair!

10 Oct

I was emailed earlier in the summer about taking part in the Woolwich Contemporary Print Fair in London and am excited to have decided to take part! It looks like a great range of artist’s original prints will be on display and should be an opportunity to meet a wider printmaking community!

The exhibition takes place from the 17th – 20th November at the Royal Arsenal Riverside in Woolwich and is curated by the Brocket Gallery London.

I’ve decided to exhibit ‘Mezzo-type’, my mezzotint from last year, and ‘Rocker’ as they were particularly interested in my embossed pieces and these combine different methods and will work well displayed together! I am particularly proud of ‘Mezzo-type’ as it was a real labour of love, and although it is a bit different to my most recent work, I do intend to do a twin print in the next year of another printmaking machine from the John Jarrold Printing Museum in Norwich.

Watch this space, and share the exhibition link! It’s going to be a fantastic showcase of printmaking from across the UK!

http://www.woolwichprintfair.com/exhibitors/

lwhiteprints ETSY shop!

8 Sep

I’ve opened up an Etsy Shop!

https://www.etsy.com/shop/lwhiteprints?ref=hdr_shop_menu

As advised by another Etsy user, I will be adding work for sale gradually to try and build up an audience but if you would like to contact me directly about any work in my portfolio please email slippersandhats@hotmail.com!

Thanks!

L

‘Mezzotype’ – New mezzotint completed!

17 Aug

It’s done!! I finished proofing the mezzotint I’ve been working on last week and also made a collagraph plate to print the block of text in the foreground.  I’m really excited about this new print, not just because it’s finished, but because of how well the two plates have worked together. I managed to make the collagraph thin enough so that it could sit on the surface of the mezzotint and be printed at the same time! This has saved time because I originally planned to stencil out the area and then print a lino cut in the space but this way makes it more integrated as an image and because it has been embossed it works better as an intaglio-relief combination!

'Mezzotype' £220 (unframed)

I’ll be taking this down to the framers today in preparation for the 20th Norwich Print Fair which takes place at St Margaret’s Church, St Benedict’s St, Norwich from Mon 7th – Sat 19th September!   http://www.norwichprintfair.co.uk/

PRINTMAKING COURSES, WENSUM LODGE, NORWICH! ENROL NOW!!

13 Aug

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Mezzotint proof!

1 Jul

I have finally taken a first proof of my latest mezzotint! I Have spent a few months gradually working the plate as I didn’t want to rush it, especially as it’s the largest mezzotint I have done (approx. 30X30cm)

The plate was originally rocked with a 100 gauge rocker about 20 times. Although it is advised to rock more than this, the plate is a bit thinner than you would normally use so I didn’t want it to bow in the middle, and also it’s long winded.. so 20 suits me just fine! I also allowed the rocker marks to show around the edges as I am really keen to promote the hand-made / hand-pulled print and this is obviously a key feature for mezzotinting!

When proofing a mezzotint I usually expect to be fairly disappointed with the result as it is so hard to tell if you have burnished enough. Also every time you print the plate the burrs break down slightly because it has quite a delicate surface.  This is why it is best not to proof too many times because you will only get up to 20/30 prints maximum, depending on how many times it was rocked! As this was rocked only 20 times I expect it to be an edition of 20 with a couple of ‘Artist Proofs!’.

I am really pleased with this as a first proof (Sorry image to follow – technical difficulties!) so I will only need to define a few areas before editioning it and getting it ready for this year’s Norwich Print Fair! I have slightly over wiped the centre of the plate as well so hopefully the next proof will be much clearer!

 

Proofing with Progress!

12 Mar

I currently have Wednesdays free to get some of my own artwork done and i’m really enjoying the chance to spend a whole day developing new ideas and working on different projects! I’m still trying to get down to the John Jarrold Printing Museum on Wednesday mornings and am beginning to get my head around type setting!

Below are some pics of a poem I have been setting up… as you’ll see there are some ‘u’s and ‘n’s in the wrong places, this could be because someone put the ‘sorts’ in the wrong place, or more likely I was struggling to read upside down and back to front!

At the workshop, I also took a proof of ‘Grandma’ to see if the soft ground shows when printed. I taught a session on Monday with the intaglio beginners group using a new batch of soft ground solution (copper sulphate) but have resolved that the mix was a tad too weak so I will be testing this again tomorrow to ensure I get better results for the learners. When etching a hard ground the copper sulphate or acid needs to be stronger so that the lines are etched down into the plate and hold enough ink to print a clear line.  There needs to be a weaker solution for soft ground as it can dissolve and break down too quickly, especially if a texture has been used to remove a lot of surface area. However, I do need to make the solution slightly stronger because as you can see by the print below, after 6 minutes it is still quite a light etch. (There are several factors such as time, room temperature, solution, plate type and ground that can affect this!)

I am pleased with how this etching has printed so far, particularly some of the free lines, but I want to draw into it more and work into the background to give it more depth…

I also proofed and actually started editioning the ‘rocker’ print as part of the tools of the trade project! It’s a mixture of etching, mezzotint, collagraph and as it turned out, a bit of chine colle! I had a really clear idea of how this might work in my head and i’m really excited about the result as I’ve been meaning to try combining methods in this way and think it will work really well in future work!

Thanks for reading, L