CUTTING & FOLDING

What to do with all those samples and prints that have not quite done what you want at the
end of the term? Well I suggested to my printmaking group...fold it up into an attractive

pamphlet. It turns an unloved piece into a thing of beauty. All these booklets are made from

a single piece of paper. Each page throws up a surprise as the print is looked at in a completely

different way. As the collagraphs are printed on 300gm Somerset the booklets take on a board like quality. A very nice way to end our term.

And here is my latest enamelling experiment, mucking about on an etched piece of copper.

So much to learn....so little time!!

NEW TRICKS

You can't teach old dogs new tricks? Well never too old to learn!! Just when I thought I was settled into a way of working two new techniques come my way, a bit like waiting for a bus really.

First, screen printing. It has changed beyond recognition from when I was first a student, it was smelly toxic and a pain to clear up. Now it is quick and washable with wonderful results.

I have screen printed blue and then print a collagraph plate over the top. It has allowed me to add text simply and the lovely soft splashy marks.

I can also achieve that lovely blue sheen that these birds have.

The biggest revelation for me this week has been enamelling. These are a couple of experimental examples on copper. The cross overs with etching and screen printing are interesting.

I can not explain how it feels to be trying something really new. Thrilled only just covers it!!

COLLAGRAPH EXPERIMENT

From drawing to collagraph, I always enjoy the development of an image. I am very relieved
that this plate printed so reliably. I have had a few very public failures recently.

I am still working on the plate, adding glue to lighten the areas around the brush and putting

more highlights on the bird and moths. I now feel confident about making a start on the second

drawing. I am always surprised at what can be achieved with such simple DIY materials, PVA glue, poly filla, grey board and carborundum. The secret ingredient that binds them all together? Textured wall paper of course!

CREATING NEW COLLAGRAPHS

It is liberating to create images for different reasons. While working on the fish commission I am also working up some images in my sketch book for a series of Corvid collagraphs, just to experiment really.
I have used The Raven as a starting point, or should I say an excuse. The use of everyday objects in the work of the artist Jim Dine fascinates me, so with the two influences colliding and lots of textured wall paper I have made these two drawings. The next stage is to make the collagraph plates.

ETCHING EXPERIMENTS

I found this piece of deeply etched zinc, a left over workshop example and thought it would be
fun to experiment with viscosity inking and some copper chine collee. Only 3 inches by 3 inches,

with lovely ragged edges. A close up shows how the ink is reacting with the edges and the copper leaf.

Is it my imagination or do the spare bits and pieces that we just muck about with often work better and are more interesting than the pieces we spend days working on?

COLLAGRAPH COMMISSION

This is the first of a set of four images I have been asked to make.
The collagraph plate is made from grey board and wood glue with the details cut and carved. I very rarely work to commission, so this is an interesting experience for me and I am enjoying making fish again.

NON-TOXIC ETCHING EXPERIMENTS

So... I come back from participating in a one day etching workshop a bit frustrated. As you can imagine there is little one can achieve in a day using a very traditional wax hard ground and a slow biting ferric chloride on copper plate when the weather is cool. I manage a very unsatisfying, thinly drawn paint brush, which although it was in the ferric for 2hours did not achieve the richness I am use to with quick biting zinc and aluminum in copper sulphate.
I brought the plate home and was inspired to get my ferric chloride tank going again so that I could rework the brush. My tank has an outer tank of water which is heated, this speeds up the biting process, I also have citric acid added to my ferric, it gives a cleaner bite. I made an extra piece from deeply bitten aluminum and re printed using viscosity inking for the aluminum plate.

Happier than I was but not completely satisfied! But it is this bit that really interests me, I can see myself dispensing with the brush...watch this space.

I apologise for this post, it has been a bit technical, it has been aimed at my fellow non toxic etching enthusiasts. Let me know what you think?