Tag Archives: proof

I’ve been busy!

20 May

I have been really slack at updating my blog lately, but just wanted to show what I have been doing so far this year, on top of teaching and planning new and exciting things at Print to the People (watch this space! http://printtothepeople.com/home)

I have been working on four new etchings, two of which will be on show at this years Norfolk Show. I am working on two copper etchings that will accompany ‘Aidan’s Studio’, these are of closer studies of his workshop and are a combination of hard and soft ground etching techniques. I’ve also just finished two zinc etchings that are part of a new ongoing series of work based on old photos of family in Ireland in the 1930s.

‘A Grand Day Out’ and ‘A Grand Day Out #2’  are now available to buy:£70 mounted, £90 framed – i’ll put them in my portfolio and will also try to get my Etsy shop going again…

 

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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!

 

Print Run at the John Jarrold Print Museum

1 Jul

(I have a bit of updating to do so this blog was intended for a couple of weeks back!)

Two weeks ago, with the help from the volunteers and experts at the John Jarrold Printing museum, I completed my print run of the poem and lino cut that I have been working on.

The poem, ‘The Printing Press’ by Christopher Pearse Cranch, is about Gutenberg’s press and how the printed word opened up communication across the world! It was the machine that gave us the Gutenberg Bible and all books from then on!

Below are some images of the type setting and lino block in production as well at the machine used at the museum to print the limited edition of 100 copies. These will be available for sale at this year’s Norwich Print Fair and 50% will go back to the Museum!!

‘Aidan’s Studio’

6 Apr
This image is of the plate with a liquid ground covering the surface.  This has been drawn through using an etching needle so that the exposed areas will then be etched away by the acid...

This image is of the plate with a liquid ground covering the surface. This has been drawn through using an etching needle so that the exposed areas will then be etched away by the acid…

This is the first proof taken after the 'hard ground' etch.  I decided that it needed some darker areas the balance out the image so re-etched with a 'soft ground' and drawn into using a small piece of card.. Also the inking up is a bit fluffy due to dirty scrim!..

This is the first proof taken after the ‘hard ground’ etch. I decided that it needed some darker areas to balance out the image so re-etched with a ‘soft ground’ and drew into it using a small edge of card.. The inking up is a bit fluffy due to dirty scrim!..

This is the plate after etching for the second time..

This is the plate after etching for the second time..

This is the plate inked up and ready to run through the press..

Inked up and ready to run through the press..

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I’m really pleased with how the final proof has turned out as I tried to use Aidan’s method of inking up to vary the tones but I think might benefit from an aquatint to help make this more consistent..

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

New Etchings

8 Mar

As part of my ‘tools of the trade’ project I have been working on an etching of a ‘rocker’ and so I thought i’d just post an image of the plate so far…  I’m intending to rock lines across the top of the plate to demonstrate how this tool is used but have also prepared a collagraph plate for the handle so that it will be embossed!

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I’ll be printing this on Wednesday as well as proofing this plate (below) This etching is to go with one of my early etchings, ‘Granddad’ and is based on an image of my Grandma and her sister in Cork in the 1930s. So far I have done a hard ground line, and used soft ground to apply a texture to the coats and background of the plate but I think I may need to work into it more to get a wider range of tones.. I have also produced a small collagraph to emboss one of the figures!

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PRINTMAKING COURSES – JANUARY 2015!! SIGN UP NOW!!!

20 Nov

There are two leisure courses in printmaking starting up again at Wensum Lodge ( King Street, Norwich ) from the 5th of January 2015! This includes the new course ‘INTAGLIO FOR BEGINNERS’ which started up this term and has been a great success (see images below of some of the prints produced!)

LINK (Just type PRINTMAKING into the key word search and check how many places are left)

http://www.norfolk.gov.uk/Leisure_and_culture/Adult_education/index.htm

You can enrol online or by calling this number 0344 800 8020

INTAGLIO FOR BEGINNERS!

Focussing on engraving and etching techniques, this course offers the opportunity to develop your drawing skills in to print.  You will be using drypoint tools to engrave rhenalon and aluminium and also shown various techniques using environmentally friendly methods of printing.  Not only this, you can also try both hard ground and soft ground etching on zinc – a more complicated process but with professional and saleable results!

The course takes place on Monday evenings between 6 and 8pm and will run for 11 weeks! This course filled up quickly last time so make sure you enrol soon! (It could even be a great Christmas present?!)

PRINTMAKING FOR BEGINNERS (INTERMEDIATE)!

An opportunity to try four different printmaking methods including monoprint, lino cut, collagraph and drypoint, this course is a great introduction to various techniques and processes.  It is perfect for both complete beginners as well as those who already have some experience!  You can take advantage of the facilities and develop your own style and way of working with the support of the tutor (me) and others in the group!

The course takes place on Tuesday afternoons between 3 and 5 pm and also runs for 11 weeks! Make sure you sign up as there are some regulars who come back every term so places fill up super quick!

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Thanks for reading! Please share with any one who may be interested!

L