FROM DRAWING TO PRINT

People rarely see me make a plate and never see me print one, so here it is, the struggle to make new work, I find it fascinating to see how artists put their work together, here is an insight into the technical issues I have been having over the past couple of weeks. 

I spent the summer playing with some different images.

Not just birds...I had an idea that I would like birds perched on statues, so spent

days drawing, drawing.

I plumped on an image I liked the idea of, in my head I knew I would change it as I went along, what I didn't know was that it would be so difficult to get right.  This collagraph plate is made from grey board, wood glue, skim and repair plaster and carborundum. On this plate the neck was all wrong.

But I quite liked the way the tones on the face printed.

So I made another plate, thinking that I would alter the drawing and make the composition tighter.

But too much glue and the shape of the face was all wrong. Now I am beginning to sound like something out of Goldilocks and the Three Bears because

the third plate was just right!

I proofed this collagraph yesterday and bingo...not perfect but certainly better.

I made some chine collee by printing gold ink onto tissue.

I inked the rook in Hawthorn dense black and the statue in brown black, the paper is Snowdon buff.

giving me an image I feel happier with. 

Rather than try to make this perfect I am moving on to another collagraph and will put into practice everything I have learnt from this one.

3 days drawing, 2 weeks plate making, 3 days printmaking...certainly not instant art.

HALLOWEEN HALF TERM

October, my favourite month, I love the way the world becomes full of colour.

I have the added bonus of my lovely daughter working at the Henry Moore Institute, so 

what could be better than a visit to see her and this fantastic work

nestled in Autumn colours.

A great start to my half term week off.

Friday saw me installing The Swarm at the Museum in the Park, Stroud,

with the fantastic help of my chum Caroline

The Swarm played it's part in the night at the museum event, illuminating the collectors room where it will be for a while longer.

I like to get into the swing of things for Halloween,

so spent Sunday afternoon whittling away a couple of pumpkins and even made some toffee apples for unsuspecting trick or treaters tonight.

Halloween would not be the same without my works appearance in the window of Moss Prints,

say hello to Gary who is making a rare guest visit inside.

I know it is an American import, but I quite like the creative outlet it gives, so Happy Halloween everyone.

A DISTRACTION FROM PRINTMAKING...

But a lovely one as I welcome the talented, skillful and patient Catherine Kingzett to the yard:ARTspace to teach, Drawing with your Sewing Machine.

With dramatic autumn skies outside the yard we were all snug and ready to be inspired.

Catherine bought along mouth watering examples and

delicious bits for us to use.

We had a masterclass in threads a world completely new to me.

Our first task was to get to grips with our own machines of which a couple

were rather classic, cool examples.

We all tentatively set off doodling and experimenting with what 

our sewing machines could cope with.

But under the sympathetic eye of Catherine we were all having fun and loosing our fears.

Being given permission to play is what a workshop is all about and

everyone made these lovely sample pieces.

Even moving onto a more considered project.

I am so looking forward to having Catherine back next year at the yard:ARTspace with her Stitch a Month class starting on the 16 January.

GLORIOUS AUTUMN COLOUR

Half term is now upon us and we are half way through the 10 week printmaking course at the yard:ARTspace.

My 3 classes, morning, afternoon and evening have been exploring 

collagraph plate making using glue and carborundum to create 

textures and tones. 

These small experimental plates were printed last week,  

Just a couple of blended colours and chine collee. 

But this week things got serious with the application of  

viscocity inking. 

You can see the difference this inking technique makes to a plate, plain intaglio inking with chine collee on the right, viscocity inking on the left, using the same plate. 

And off they went, feverishly inking all the plates they had  

made so far 

Plates and prints together here. 

Viscosity involves first rolling a runny ink over an inked plate, then a sticky ink.  

Simple?, Well yes once you get the hang of it.

Vibrant colour is created with just one inking. 

The rest of the course will involve everyone getting their heads around making 

plates that will give them the effect they want from this glorious inking technique.

I can't wait.

If you would like to join the 2017 Spring term, 10 week printmaking course at the yard:ARTspace, Cheltenham go to www.theyardartspace.com for booking details.