Tag Archives: plate

Courses at Print to the People

17 Mar

There are a number of courses now open for bookings at Print to the People, Norwich, over the next few months. With a bigger team of printmaking tutors, we now have more processes for you to try and some of the courses book up really fast so be sure to book now!

We also have an online ‘shop’ on our website where there is more info and images of each course and you can book directly from there… here’s the link!

http://printtothepeople.com/shop

Courses i’m teaching on include lino printing, muliple block printing, collagraph for beginners, drypoint and etching! Spaces still available !!

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Latest Work and News!

3 Mar

 

Admittedly I have had my usual lull between September and January in terms of doing my own art work! I am now teaching two leisure courses in Lino Printing for Beginners and a level 1 and level 2 NCFE in craft: Printmaking  at Wensum Lodge in Norwich. I am also a sessional tutor at City College and teach on the Art Foundation course on Tuesday afternoons.

Wednesdays, however, are still my day at Print to the People and during the quiet (and cold) winter months I have been working on a new etching of my Granddad and friends admiring an old MG in the 1930s.

etchign-3

Shortly after starting this plate I was sent the usual email asking to show interest in taking part in this year’s Norwich Print Fair. At the time I had only done the initial hard ground line drawing but I sent this in and have been offered a place in the exhibition again in September!

Below are more images of my plate in progress and what I have done at each stage…

  1. The hard ground line drawing. Etched in Ferric chloride for 1 hour (it takes longer in the cold!)

2. First soft ground. Ran through press with a piece of cotton across the whole surface. White areas stopped out and additional lines added for a soft tone – these were drawn through tracing paper to give a more pencil like line when etched. Etched in weaker solution for 6-8 minutes.

3. Second soft ground etch. Focusing on the tree. Used an edge of mount card and scrunched up tissue to create random marks for the leaves (rather than drawing them individually!) Also re drew softer lines to create a darker tone on figures and the car.

4. Proof 2 and proof 3. Planning to burnish a ‘horizon’ and get rid of random marks in background. Might do one more etch but i’m pleased with the latest print…(white patches are where I tried to use whiting powder to lighten the background but it didn’t work well over the soft ground texture so going to burnish instead.)

etching-14

I’m aiming to have this print ready to exhibit in the Royal Norfolk Show in July alongside two other works. I sold both A Grand Day Out and A Grand Day Out #2 there last year, so I have been asked to submit 3 pieces this time!

Watch this space and thanks for reading,

LWHITEPRINTS

 

 

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