CREATIVE SKETCH BOOK WORKSHOP

 

 

This weekend has been a very busy one, I have been teaching my signature workshop,

Creative Sketch Book techniques, it is two days packed with techniques to beat the blank page syndrome of a new sketch book. I tell everyone my secrets and off they go!

I start off with gum Arabic transfer. This technique uses a simple photocopy and

 nothing more technical than a wooden spoon.

The results are a printmaking triumph in my opinion.

We then add Indian and Quink ink and bleach,

acrylic paint comes into play together with acrylic transfer.

This transfer technique takes a little practice, but can yield spectacular results using colour photocopies and magazine images...no nasty fumes.

Then printing with wallpaper and acrylic paint makes an atmospheric resist when washed with Indian ink. 

With all this information layering, mixing and playing happens.

It is essential that it is a two day workshop, it gives everyone time to absorb the techniques and develop a layered sample. The only real rule is let things dry between applications, but even this rule can be bent.

Everyone went away with several of these

4 page leaflet books. We had a happy, if not fraught hour learning how to glue these together to create a strong tactile booklet.

Interested in having a go? The next Creative Sketch Book workshop will be in March 2015 at The Yard, Art Space, Cheltenham. 

CREATIVE NOVEMBER AT HAMPEN FACTORY.

November can be a grey uninspiring month, especially with the anticipation of twinkle and festivities that December brings. So I am filling November with creative workshops.

Kicking off on 1 November with a mono print technique that pushes mono printing that bit further, using the viscosity inking process that I teach for collagraphs you can produce complex looking images with one pass through the press.

All these images are done in one pull.

The very fine lines are imbedded into the image, not added afterwards.

15-16 November is a 2 day workshops exploring mixed media techniques that will get over the blank page syndrome we all suffer from occasionally.

Transfer techniques, acrylic paint, ink and bleach are just a few materials to play with.

At the end of the weekend the samples are turned into a useful reference booklet (or bespoke festive card for a special person).

29-30 November is a 2 day workshop learning how to make the most sophisticated collagraph technique available (in my opinion). Silk Aqua Tint, looks like an etching but uses collagraph processes. On the left hand side is the plate, on the right is the print.

 It produces subtle results not usually associated with collagraph, but if it is your first encounter with the technique it is a great place to start.

 

All these workshops are suitable for beginners and experienced artists looking to develop new techniques. You do not have to be a printmaker to enjoy any of these classes.

For more details and booking contact me, sb.brown@talk21.com

 

OCTOBER- A PRINT A MONTH

Does this count as part of my print a month challenged? It's not a new print but an edition to an existing image.

This is a Halloween inspired intervention, the skulls are carefully cut out of the space behind the collagraph bird.

This piece has been commissioned by the Cheltenham gallery Moss Prints. Helen creates exciting windows seasonally and I always look forward to her October window which is where this will be featured towards the end of the month.

ARTEA PARTY

 

 

Today I hosted an Artea party in support of Butterfly Conservation, it was part of the butterfly bake off that has been happening in Gloucestershire this past week.

http://www.gloucestershire-butterflies.org.uk/index.php

and yes of course the theme for the cakes was, butterflies.

It is an opportunity for me to get out my vintage china and challenge my friends to make a butterfly related confection.

Holly subverted the theme by making Flying Butters suspended over the tea table, orange and almond...yum

I went for a simple sponge, but made lace winged butterflies with icing.

Trish and Brian who helped by bringing promotional material, information boards

and live moths caught in a moth trap the night before made these lovely creatures.

 

These 2 examples of gorgeous baking came from  

3 generations of bakers, thankyou, Shelly and Carol.

Dinny made this beautiful narrative edible sculpture, the less lettuce the bigger the caterpillar. 

 

Thankyou Anne for these delicious blueberry butterfly cakes, they took me straight back to parties from my childhood.

On the wall outside the kitchen was a representative from the natural world and if anyone can identify this moth for me I would be grateful.

Our little tea party raised over £40, thankyou to all those who came with offerings and a bigger thankyou to all those who came and ate cake. Lovely to see you.

A PRINT A MONTH!

I have always thought the more you do, the more you do! I made a commitment to making a print a month. Of course this means coming up with ideas and making drawings, then making collagraph plates and printing editions. This discipline seems to be having a positive effect on me.

This month I have created this suite of prints about

little birds on washing lines.

I have been playing with very simple plate making, just using glue and cut grey board.

The washing is made from 'skim and repair' with

wall paper pressed into it.

I am still teetering on the brink...should I leave the washing as an embossed texture allowing the light to pick up the pattern or shall I ink and print these plates? What do you prefer? Let me know, it's always good to hear from you.

CRUCIBLE 2

Something very exciting has happened in Gloucestershire this week...the opening of Crucible 2.

In 2010 I posted about Crucible, the sculpture exhibition in Gloucester Cathedral and I am pleased to report that Crucible 2 is every bit as inspiring. 

There are pieces in the Cathedral grounds, Monumental Steel Bull, Terence Coventry. 

Through the portals of this beautiful building, carefully and effectively placed are

sculptures of quality and meaning. Always challenging, The Thief  by David Mach

Damien Hirst, whatever you may think of his work, produces statement pieces.

Fallen Angel is a bronze covered in gold,

with obvious hints as to why he has fallen.

Anatomy of an Angel is perhaps a more typical Hirst.

There are works placed all over the building, smaller pieces tucked away, Untitled Sphere by Alastair Mackie.

Steven Gregory's work commands a second look,

 

entitled Tick, Tock. 

Just off the Cloisters made famous by Harry Potter is this unexpected Antony Gormley.

The Cloister gardens also show off some remarkable work.

Untouched is a tranquil work by Angus Fairhurst.

In contrast to Vesqua by W. Pye which you can touch. Don't be fooled by it's surface.

This is one of my favourite pieces, Bread Hand by Marc Quinn. Tucked away and easy to miss. 

Go into the Crypt, the works there have an atmosphere of their own,

Split Shadow is another of my favourites by Ann Christopher.

Thames by Jordi Raga.

The Cathedral lends it's own drama to the exhibition,

It is not like walking around an art gallery. Constellation 2014 by Daniel Chadwick.

I was lucky enough to be invited to the private view organised by one of the exhibitions sponsor's, Willans. Thankyou Chris Ryder for taking me along.

I did not have time to see all the work, so I need to go back to find the Henry Moore, David Nash and the Randall- Page work just for starters.

 

http://www.crucible2.co.uk/ on until the 31st October. Not to be missed.