tag:blogger.com,1999:blog-89353401837803790552024-03-06T04:01:22.286+00:00Printmaking Art + Aine Scannell's BlogAine Scannell
Artist printmaker - Dunfermline, Fife,ScotlandAine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.comBlogger360125tag:blogger.com,1999:blog-8935340183780379055.post-49970551320117258532022-01-04T16:14:00.008+00:002022-05-25T01:40:43.412+01:00Testing new posts - especially whether an email notifying new content on blog is sent to subscribers<p>Well the last post on here was to do with the International Print Exhibition in Wrexham and how I would love to have been there for the opening and particularly to see all of the other artwork. If this works I will do some 'catch up' on here.</p><p>NOTE for those who are unaware Blogger/Google notified us 'bloggers' that the "Sign up by Email" function was to be 'scrapped' after June 2020 or possibly 2021? There was to be no replacement!</p><p style="font-family: Helvetica; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: Helvetica; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Re losing Feed burner Follow by Email”....</p><p style="font-family: Helvetica; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p style="font-family: Helvetica; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">The impression I get is that followers who are already on my 'RSS email Feed' list - continue to receive email notifications whenever I create new posts on my blog.</p><p style="font-family: Helvetica; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">HOWEVER the gadget for "Follow by Email" is no longer visible in the column to the side of my blog. I double checked by going to my dashboard and then 'Page Layout' and clicked on 'Add a Gadget' ------Alas-------"Follow by Email" is no longer on the list of gadgets. </p><p style="font-family: Helvetica; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: Helvetica; font-size: 12px; font-stretch: normal; line-height: normal; margin: 0px;">Anyway lets see...........</p><p>I am pleased to report that through the excellent research and advice offered through https://sofanmax.blogspot.com/2021/10/followit-to-replace-feedburner-follow-by-email-widget-in-blogger-for-free.html. I was able to register with Follow.it. and thereby enable those people who wished to subscribe, to do so. This was/is at no cost........ </p><p><br /></p><p>Just doing a further test so will resume posting on here soon. </p>Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com1tag:blogger.com,1999:blog-8935340183780379055.post-89099780348668573002021-07-27T02:17:00.000+01:002021-07-27T02:17:43.067+01:00Wales International Print Exhibition 2021<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1oHm1ZSCsZeLpaOxPtRoHWW1wiK2jDHlh_eIfiYEcvI15iUuSSEJ8a1EcLBLJ0XhmU9iRcBkJczd9fNMKvo0Oxvlat92pz7Y-a6G9_buTTawfSQzmLT3jOF2Z8oMzaWYyz0WdRICi5QMH/s2048/2_AineScannell_Arc+of+Needles+II%252872+X+52cm%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1505" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1oHm1ZSCsZeLpaOxPtRoHWW1wiK2jDHlh_eIfiYEcvI15iUuSSEJ8a1EcLBLJ0XhmU9iRcBkJczd9fNMKvo0Oxvlat92pz7Y-a6G9_buTTawfSQzmLT3jOF2Z8oMzaWYyz0WdRICi5QMH/s320/2_AineScannell_Arc+of+Needles+II%252872+X+52cm%2529.jpg" /></a></div><br /><p></p>Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-62327244544080895472019-05-01T22:29:00.000+01:002019-05-02T21:39:06.687+01:00Z is for Zea Mays<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicehtwpWheuqC6z-0r2TPLQ3M97926vm4OX0es-gYewSQRPbWNdT0WCOmZuhvSLT8qj_bRmqWHSxhOEPkAVpUpYkDPoqCS9vKbozbbYFXaNOAbeHUyu80hegq5x6Hxe2m4JsP8vJML5HUH/s1600/Slide+29.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicehtwpWheuqC6z-0r2TPLQ3M97926vm4OX0es-gYewSQRPbWNdT0WCOmZuhvSLT8qj_bRmqWHSxhOEPkAVpUpYkDPoqCS9vKbozbbYFXaNOAbeHUyu80hegq5x6Hxe2m4JsP8vJML5HUH/s320/Slide+29.jpeg" width="320" /></a></div>
<span style="font-size: x-small;">I have known about ZeaMays for a good few years now.. I can't remember what it was that first brought me onto their website. Established by Liz Chalfin, in 2000, Zea Mays Printmaking, is a print studio in Florence, Massachusetts, USA. </span><br />
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<span style="font-size: x-small;">So it's a place where you can go to do some printmaking or go see an exhibition. You might also go there to learn specifically about non toxic printmaking OR to do one of the excellent printmaking courses they run there with some really good artists. Another thing they have established is an 'artists residencies' programme. It's a pretty large detached building with four floors and a basement. To me it looks like it might previously have been an old mill or a factory or maybe a storehouse.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgAlN5cu6_t-5G-WJiPvExjPxlxc8JCjWoNbdfN77I7Wm-tIbaiL1iRkI9oiIE3bGoPUeu2o3wraEcrczrB1unVs1SMggklSs3hdmdNJv0IEB-6AxJog4Mt1ILIoug0z9xwphpUtq7Fl5U/s1600/LizcChalfin_3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black;"><img border="0" data-original-height="449" data-original-width="600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgAlN5cu6_t-5G-WJiPvExjPxlxc8JCjWoNbdfN77I7Wm-tIbaiL1iRkI9oiIE3bGoPUeu2o3wraEcrczrB1unVs1SMggklSs3hdmdNJv0IEB-6AxJog4Mt1ILIoug0z9xwphpUtq7Fl5U/s320/LizcChalfin_3.jpg" width="320" /></span></a></div>
<span style="font-size: xx-small;">One of the things I particularly like about Zea Mays is the research they undertake and publish on their website. More on that later. They have a members gallery on their website too, as all good print workshops should do, in my opinion. Here are a few pieces I have selected from there:</span><br />
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<span style="color: #666666; font-size: x-small;">"The Things Between us" photo-intaglio and watercolour 22" x 30"</span><br />
<span style="color: #666666; font-size: x-small;"><span style="color: #666666; font-size: xx-small;">Liz Chalfin </span><span style="color: #666666; font-size: xx-small;">-</span><span style="color: #666666; font-size: xx-small;"> </span><a href="http://www.lizchalfin.com/" target="_blank">her website</a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFHt4DLOrNk7TEEv5ulDgHNWLvR_LhhBvCmrCldJMAqujIA7uTcW1HVP3Xl62h0uLWK2o4LRFU1yiMTPietJX7QnLuGeJ__Fi0NxOAbuPnIKiMk4NgL6kMuohKTDKIhPQZsNZ82dzwLkeb/s1600/tekla_mcinerney_Nearly_no_1_monotype_7-x-5.5-inchesXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1018" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFHt4DLOrNk7TEEv5ulDgHNWLvR_LhhBvCmrCldJMAqujIA7uTcW1HVP3Xl62h0uLWK2o4LRFU1yiMTPietJX7QnLuGeJ__Fi0NxOAbuPnIKiMk4NgL6kMuohKTDKIhPQZsNZ82dzwLkeb/s320/tekla_mcinerney_Nearly_no_1_monotype_7-x-5.5-inchesXX.jpg" width="320" /></a></div>
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<span style="color: #666666; font-size: x-small;">"Nearly No. 1" monotype 7 x 5.5 inches</span><br />
<span style="color: #666666; font-size: x-small;">Monotype by<a href="https://www.teklamcinerney.com/" target="_blank"> Tekla McInerney</a> so subtle....</span><span style="color: #666666; font-size: x-small;">..</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqDyL50Fd7b72HtWlm3YbREFCmXyYprpQ8DoR-A8hUwDh2G-9OG1AeI4HlOxLAFBvTMIEz9QJlHTfDYAOQuqcfA_THS_aY5DZxsPX_DO5fpoQfQpcoNwRuVk5qZfO4IkL-Id74b8LaAtE1/s1600/JDB_Rudimentary-Water-No_3-woodcut-monoprint8-x-8inXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="684" data-original-width="684" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqDyL50Fd7b72HtWlm3YbREFCmXyYprpQ8DoR-A8hUwDh2G-9OG1AeI4HlOxLAFBvTMIEz9QJlHTfDYAOQuqcfA_THS_aY5DZxsPX_DO5fpoQfQpcoNwRuVk5qZfO4IkL-Id74b8LaAtE1/s320/JDB_Rudimentary-Water-No_3-woodcut-monoprint8-x-8inXX.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">"Rudimentary Water #3" which is a woodcut monoprint from her Rudimentary Water series</span><br />
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<span style="font-size: x-small;">Love how she is using the woodcut block in her mono prints - when I originally saw these, I thought they were watercolor monotype or just very transparent monotypes</span></div>
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<span style="color: #666666; font-size: x-small;">8 x 8 inches. artist. <a href="http://www.joandixblair.com/" target="_blank">Joan Dix Blair</a> of ZMP</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhOP9QX3OAhyphenhyphenO50s-VCb0RzBL6dfURNnU67ooT-Eo8MhXeaBBkyEXveLiKnoBHBFrJKfZGfrelP1GhVYJCC8Pw9yb5UlSa4EKTEB19DyiT06vIkGMwmTrhtGYKObrWciz6FSV4vd30zn7j/s1600/AkuaInks_solvents-for-monotypeProof_1xx.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1347" data-original-width="1350" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhOP9QX3OAhyphenhyphenO50s-VCb0RzBL6dfURNnU67ooT-Eo8MhXeaBBkyEXveLiKnoBHBFrJKfZGfrelP1GhVYJCC8Pw9yb5UlSa4EKTEB19DyiT06vIkGMwmTrhtGYKObrWciz6FSV4vd30zn7j/s320/AkuaInks_solvents-for-monotypeProof_1xx.jpg" width="320" /></a></div>
<span style="color: #666666; font-size: x-small;">Getting back to the research that goes on at Zea Mays. It's so hard to select from the list of things that they have done...BUT... I have gone for the 'quest' to find 'solvents' to use with <a href="https://www.artifolk.co.uk/drawing/pens-markers/akua-inks" target="_blank">Akua Intaglio inks</a>, in monotypes. As I have made the 'changeover' to using these inks, of course this little research project, would invariably interest me</span><span style="color: #666666; font-size: x-small;">. </span><br />
<span style="font-size: x-small;">It disappoints me, you know, the amount of people who are so </span><i>against</i><span style="font-size: x-small;"> even trying these inks, as they are an absolute 'gift'. </span><br />
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<span style="color: #999999; font-size: x-small;"><span style="font-size: xx-small;">1. test proof</span><span style="color: #999999; font-size: xx-small;">, using diluted washing </span>soda crystals</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5IG3Rf4qzPYVmnMbD1SgJ9OVjqS7XJblRnROtzxOoBt3tE_glgn-elIEPVnswl33FQEvxvjRXulPSxQ4_nmw7aTTYXn2akIVPZKUGdaLl_NRg5QEOSCp7bnLSrinIiV5uCWDG4qMHS6gy/s1600/Mother_NancyDonigerZM_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1003" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5IG3Rf4qzPYVmnMbD1SgJ9OVjqS7XJblRnROtzxOoBt3tE_glgn-elIEPVnswl33FQEvxvjRXulPSxQ4_nmw7aTTYXn2akIVPZKUGdaLl_NRg5QEOSCp7bnLSrinIiV5uCWDG4qMHS6gy/s320/Mother_NancyDonigerZM_XX.jpg" width="319" /></a></div>
They think that they wont be 'as good' as the traditionally used oil-based etching inks. But these inks are just as good, it's just a question of becoming accustomed to using them. <br />
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I have to admit here, that I purchased the 'Akua Kolor' inks in the first instance <i><span style="color: #999999;">and I did find them difficult to use</span></i>. They are a lot more fluid than the Akua Intaglio inks.....I think maybe one needs a bit more patience and persistence with them. By the way they are also referred to, as Akua Liquid Pigment. They are mainly 'designed for use in monotype printmaking. Speedball(USA) own the brand nowadays. <br />
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<span style="color: #999999; font-size: x-small;">Here is a delightful monotype by Nancy Doniger a ZMP member. check out her <a href="https://nancydoniger.com/" target="_blank">website</a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihG8DjPl7TNw4rmWP5zKwf-aD909BI35yTlu3VKGiCHlISorC5_tV-zXbI_3s6IOS7dz9eagZWq4S6bQMzhrUcQaToLy8B4jt5d-s_eY4jqLe207KcGJ2dZbQHL6y93eTalq51-kONwupV/s1600/AkuaInks_solvents-for-monotypeProof_3xx.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1340" data-original-width="1401" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihG8DjPl7TNw4rmWP5zKwf-aD909BI35yTlu3VKGiCHlISorC5_tV-zXbI_3s6IOS7dz9eagZWq4S6bQMzhrUcQaToLy8B4jt5d-s_eY4jqLe207KcGJ2dZbQHL6y93eTalq51-kONwupV/s320/AkuaInks_solvents-for-monotypeProof_3xx.jpg" width="320" /></a></div>
Working with Akua enables the artist to have a lot more time to work 'creatively'. I can illustrate this by giving an example. Let's say I am inking a plate that is say 50 x 70 cm, whereas using oil based inks would have taken about one and a half, to two hours - using Akua intaglio inks only takes me about half an hour. Clean up is water based and so so easy. I can't wait to try this out myself.<br />
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<span style="color: #999999;">3. test proof, using diluted washing soda crystals</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9W29IpoA-c0ppMiAPje7mFZOF3cYz7YrGPOrnQ3Y-IQvgQB5Zql2_bsu_L9pQ6jOGo9PtrLwvZ_ck41HH0UGbZdGTv3v5J8WvC6_Dp5cCf6BECRNSKe_CBe-JEYFsl1VtyrvfDEORToGE/s1600/JoyceSilverstone_artworkXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="1387" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9W29IpoA-c0ppMiAPje7mFZOF3cYz7YrGPOrnQ3Y-IQvgQB5Zql2_bsu_L9pQ6jOGo9PtrLwvZ_ck41HH0UGbZdGTv3v5J8WvC6_Dp5cCf6BECRNSKe_CBe-JEYFsl1VtyrvfDEORToGE/s320/JoyceSilverstone_artworkXX.jpg" width="308" /></a></div>
I have long admired the print works of Joyce Silverstone. In some pieces she achieves this dynamic sense of space, in others such as this one, there's just something, that very much appeals to me. Among other techniques Joyce sometimes combines lithograph, relief print with monotype and some 'trace monotype'. I get the sense that she is a really good teacher from the course descriptions - Here's her <a href="http://www.joycesilverstone.com/" target="_blank">website</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQWU09xnQm1ukpfV9ZoQ_NPSypJOn-5ovDqkfArVtcsnsErcQDE1VGsXFA-dAnkp2kOvweZ1s1sJrd_KmAEb4ROYYHEMR_P1PEtx31aLOVT0QdJrZETFGWy16Nq9QIHUVewHJVz2uH5uqO/s1600/Anita-Hunt-Dissolution-I_drypoint-and-spit-bite-aquatint_9-x-9-inches.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1436" data-original-width="1457" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQWU09xnQm1ukpfV9ZoQ_NPSypJOn-5ovDqkfArVtcsnsErcQDE1VGsXFA-dAnkp2kOvweZ1s1sJrd_KmAEb4ROYYHEMR_P1PEtx31aLOVT0QdJrZETFGWy16Nq9QIHUVewHJVz2uH5uqO/s320/Anita-Hunt-Dissolution-I_drypoint-and-spit-bite-aquatint_9-x-9-inches.jpg" width="320" /></a></div>
This piece is by Anita Hunt who is a formidable etcher and a 'whizz', with the 'spit bite'. I first came across her work on the previously mentioned "Interaction" networking platform(now defunct). In fact my friend Tatiana and I, participated in a collaboration for a print installation called Rabbit Saves the World"which was held at the Impact6 Printmaking Conference held in <a href="https://www.uwe.ac.uk/sca/research/cfpr/dissemination/conferences/Impact6galleries.html" target="_blank">Bristol U.W.E., in 2009</a><br />
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<span style="font-family: "helvetica"; font-size: 12px;">"Dissolution I" drypoint and spit bite aquatint 9 x 9 inches</span></div>
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<span style="font-family: "helvetica"; font-size: 12px;">Check out <a href="http://www.anitahunt.com/" target="_blank">Anita's website</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9Ln6ajAUt88XRmnT_6FPYmd-MGDppuayaxuXnQnnoqy2x861U1rPboocsKf17NmGPjSimENgAHoHHYK4mZlTO9TSegbiqE51UTWakRChZJmMvfC-EUlAD5zILcICFzEZTJp3nME7rehNn/s1600/anne-burton-%2528ZM%25291_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="472" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9Ln6ajAUt88XRmnT_6FPYmd-MGDppuayaxuXnQnnoqy2x861U1rPboocsKf17NmGPjSimENgAHoHHYK4mZlTO9TSegbiqE51UTWakRChZJmMvfC-EUlAD5zILcICFzEZTJp3nME7rehNn/s320/anne-burton-%2528ZM%25291_XX.jpg" width="251" /></a></div>
This piece looks like <i>it might have been</i> created using watercolour monotype, although maybe not?......It's by ZMP member Anne Burton<br />
She does not seem to have a website currently so check out her work and many others on the Zea Mays members galleries <a href="https://www.zeamaysprintmaking.com/prints/members-galleries/anne-burton/" target="_blank">website</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL3Ei5O4gjGv-gYifVaAzeagNyPbZBAkQIibNroMfQYVRpHLPj1j7HITqxwcoeYnT75v21GlU8P7cRK5ihKdOmeW_aUOPv1Jtfl5koIxBJ9Ty96Mx0lymLYQwAY9TJ9PxxjtbAWMdK_f5m/s1600/AkuaInks_solvents-for-monotypeProof_5xx.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1395" data-original-width="1410" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL3Ei5O4gjGv-gYifVaAzeagNyPbZBAkQIibNroMfQYVRpHLPj1j7HITqxwcoeYnT75v21GlU8P7cRK5ihKdOmeW_aUOPv1Jtfl5koIxBJ9Ty96Mx0lymLYQwAY9TJ9PxxjtbAWMdK_f5m/s320/AkuaInks_solvents-for-monotypeProof_5xx.jpg" width="320" /></a></div>
Oh and before I forget, apparently one should not combine washing-soda-crystals with aluminium. So bear that in mind if you try this. I'll use a polypropylene plate possibly a textured one - I like how it's grain-like-texture 'holds' the ink.<br />
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This is the final image within the pages about Solvents for Akua Intaglio Inks, within the <a href="https://www.zeamaysprintmaking.com/research/technical-research/" target="_blank">RESEARCH section of ZeaMays</a> website<br />
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<a href="https://www.zeamaysprintmaking.com/">https://www.zeamaysprintmaking.com</a>Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-27778490209929466602019-04-28T22:03:00.001+01:002019-05-02T21:56:30.088+01:00X is for Xing, Xu, Xiuhua, Xing, Xiao, Xinping, Xianqiao, Xin Lu and Xuewu <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhepMICOqUNwa-XbmL2VQVxuTKcm0upbLjfZys83UGoI0oPpO_o08uqoRjVFRhErBmMKZUZra3ahlreFqYigJL-D2RuDgIdJcUYQHA2DeoUxINtx_WYbHwJQuJ9R2L98yBxfr7pKJSQi7IN/s1600/+%25E2%2580%2598Illusion+Dream%25E2%2580%2599%252C+Edition-12%253A25%252C+100cm+x70cm%252C+woodcut+by+Zhang+XiaoChun.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1438" data-original-width="1082" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhepMICOqUNwa-XbmL2VQVxuTKcm0upbLjfZys83UGoI0oPpO_o08uqoRjVFRhErBmMKZUZra3ahlreFqYigJL-D2RuDgIdJcUYQHA2DeoUxINtx_WYbHwJQuJ9R2L98yBxfr7pKJSQi7IN/s320/+%25E2%2580%2598Illusion+Dream%25E2%2580%2599%252C+Edition-12%253A25%252C+100cm+x70cm%252C+woodcut+by+Zhang+XiaoChun.png" width="240" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Wow that's a mouthful of printmakers names from China. I have long admired printmakers from China. Quite often the works will be done on a large scale using relief printmaking and the majority of that will be woodcut. Having looked at these works in printmaking catalogue books it will be obvious that these have been painstakingly undertaken over several weeks to months, they are really impressive.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4dUGVJHyDnvWUcTpZVZh17db8-8cW6KbIwbmyMq9rR7ND9ZifaM2fIBXBbRj_donfFtdL8YpW6AoW9tiS9gH0uRNAgQCAPBxfy0WkCKYumYgIjGalQC7R2A1PZZssP2PcOcLIiW5y5Lhm/s1600/Zhou+Xing+%25E2%2580%259CJune+in+Southern+China%25E2%2580%259D+47x50cm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="747" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4dUGVJHyDnvWUcTpZVZh17db8-8cW6KbIwbmyMq9rR7ND9ZifaM2fIBXBbRj_donfFtdL8YpW6AoW9tiS9gH0uRNAgQCAPBxfy0WkCKYumYgIjGalQC7R2A1PZZssP2PcOcLIiW5y5Lhm/s320/Zhou+Xing+%25E2%2580%259CJune+in+Southern+China%25E2%2580%259D+47x50cm.jpg" width="299" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">“June in Southern China” by Zhou Xing 47 x 50 cm</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5nIo5_m7PfiGk3Du1epTlta1nxPsxi55KpFTveaJm2ax_n2pSFiIfAwaMrc4iu5LfYxDUx10Ymw2yefSVBXQBX0nMJAT0qbZ-L_ubx3armIbuL8-IaS1oAvx-xXqBeSK61ZpTK05eQbV-/s1600/zhang-xiaochun.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1392" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5nIo5_m7PfiGk3Du1epTlta1nxPsxi55KpFTveaJm2ax_n2pSFiIfAwaMrc4iu5LfYxDUx10Ymw2yefSVBXQBX0nMJAT0qbZ-L_ubx3armIbuL8-IaS1oAvx-xXqBeSK61ZpTK05eQbV-/s320/zhang-xiaochun.jpg" width="316" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">There are some Chinese printmakers that </span><span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif;">I have come across</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">- which I wouldn't have known about, had I not participated (following submission and selection) in, International Printmaking Biennials such as Yunnan and Guanlan, in China.</span></div>
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<span style="font-size: x-small;">reduction woodcut by <a href="https://www.artelino.com/articles/zhang-xiaochun.asp" target="_blank">Zhang-Xiaochun</a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5nw4dSjG2Eof7ATVyBFsskO2Zbu_auBJHvA9-hD_Yh97n3h3zNlI2swt7KTgpLUfXQSU9aSPetcaN3bc7F_B6RTYzGmAf0H_QLn3dgjl6rtopUOZEwxHVYLj4gwgeVIyDtgjERa64Wbqi/s1600/Girls+Covering+Their+Faces+58x48cm+litho+Su+Xinping.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="475" data-original-width="564" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5nw4dSjG2Eof7ATVyBFsskO2Zbu_auBJHvA9-hD_Yh97n3h3zNlI2swt7KTgpLUfXQSU9aSPetcaN3bc7F_B6RTYzGmAf0H_QLn3dgjl6rtopUOZEwxHVYLj4gwgeVIyDtgjERa64Wbqi/s320/Girls+Covering+Their+Faces+58x48cm+litho+Su+Xinping.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">While perusing through some of my printmaking catalogue books I've encountered some very impressive pieces. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">However the 'specifications; of the pieces I have particularly liked, have only had the name of the artist given in Chinese characters so of course, as I don't speak or read the Chinese language its impossible for me to try to find further information about them on the Internet....which is so disappointing and I think that's such a shame. </span><br />
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"Girls Covering Theirs Faces". lithograph 58 x 48cm by Su Xinping <span style="color: #e69138;">(link further down)</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQtboa8jRLxZc4YQyIE9IlItwSONM7c0Co29rW_dLwcl5REMFUL-goXiKgDKUVE9-9twGtjSYe_wEkuBC7F8bHH4nU_3zD8po51kAf8YvS7g-Obdt9yr9c4OfaRZzQWU944qOkTQOKgvg/s1600/Xu_YiJianMei_Zhong-ou+Xu++Yi+Jian+Mei++2000+Silkscreen+Edition+of+50.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="488" data-original-width="576" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQtboa8jRLxZc4YQyIE9IlItwSONM7c0Co29rW_dLwcl5REMFUL-goXiKgDKUVE9-9twGtjSYe_wEkuBC7F8bHH4nU_3zD8po51kAf8YvS7g-Obdt9yr9c4OfaRZzQWU944qOkTQOKgvg/s320/Xu_YiJianMei_Zhong-ou+Xu++Yi+Jian+Mei++2000+Silkscreen+Edition+of+50.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">It would have been quite nice had I been able to get in touch with them through their website. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Come to think of it that would be useful for them as well as then other people from the art/printmaking world could contact them about featuring them in exhibitions books research and so on.</span><br />
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<span style="color: #e69138; font-size: x-small;">Silkscreen By XuYi Jian Mei (no size given)</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh1OeDV94sXkRp9dQeiw8i75mONu94B33u1ek3JNI3jqDbwDfBpPrtErA32k7VUhv60QYx2RaGzotyTwE3kxsOzyDVddoP603qjtuMkKKrhpWGMgCXevKl_HjINHrd3N6cyAzOOleuMt8L/s1600/6_Xu+Chengchun+woodcut.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="872" data-original-width="1200" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh1OeDV94sXkRp9dQeiw8i75mONu94B33u1ek3JNI3jqDbwDfBpPrtErA32k7VUhv60QYx2RaGzotyTwE3kxsOzyDVddoP603qjtuMkKKrhpWGMgCXevKl_HjINHrd3N6cyAzOOleuMt8L/s320/6_Xu+Chengchun+woodcut.jpg" width="320" /></a></div>
The other thing which I must apologise for is that with some of the artworks there was no title or no technique given or no indication of size. <br />
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I would imagine where the size is not indicated that the prints will generally be approximately be about 50 x 70 cm or larger.<br />
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<span style="font-size: x-small;">woodcut by <a href="https://www.artelino.com/articles/xu-chengchun.asp?mod=" target="_blank">Xu Chengchun </a>(no size given</span><span style="font-size: x-small;">)</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3emLlD9mDM8vVxLaclmN03pf00HvY0MDdAJ52Fj_CZ6zfk3Jwk7zuiTRYl40nYDK3J_pPCDfUp7PGyo79fM5c1eTDwDTwfjZ4tn56f0QIzEKz1IkoamQXwb37DgeKDKZKgmsHBtBtMtV/s1600/Xin+Lu+-+New+Moon+%2528Spring.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="251" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3emLlD9mDM8vVxLaclmN03pf00HvY0MDdAJ52Fj_CZ6zfk3Jwk7zuiTRYl40nYDK3J_pPCDfUp7PGyo79fM5c1eTDwDTwfjZ4tn56f0QIzEKz1IkoamQXwb37DgeKDKZKgmsHBtBtMtV/s640/Xin+Lu+-+New+Moon+%2528Spring.jpg" width="320" /></a></div>
I really liked this as it seemed somewhat progressive beyond the landscape portrait - although the 4th and 5th do seem to fit this category also . Its my favourite so far but its a shame that it has hardly any details AND that the image you see here is as large as it gets.<br />
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<span style="font-size: x-small;">"New Moon Spring". by Xin Lu </span><br />
<span style="font-size: x-small;"><i>that name doesn't seem substantial enough either.</i></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC4ReY-yzL7JwpuZe2JAZFVubvEZecMDjA5UuLYx3U4W77I0oR0jae4R2Oiw-5WclTFr3kl3SdMdVGXaGY-1wzZb6-qHzfWVAoYN7xyS_2O1sF9Af3PmK4K7ZjTGOJQ2jasE6XfQYHGvYX/s1600/Zhou+Xing+%25E2%2580%259CClear+Mountain+Stream%25E2%2580%259D.+42.5x49cm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="618" data-original-width="700" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC4ReY-yzL7JwpuZe2JAZFVubvEZecMDjA5UuLYx3U4W77I0oR0jae4R2Oiw-5WclTFr3kl3SdMdVGXaGY-1wzZb6-qHzfWVAoYN7xyS_2O1sF9Af3PmK4K7ZjTGOJQ2jasE6XfQYHGvYX/s320/Zhou+Xing+%25E2%2580%259CClear+Mountain+Stream%25E2%2580%259D.+42.5x49cm.jpg" width="320" /></a></div>
Another print by the artist who made the first print shown at the top of this post namely;<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"> Zhou Xing. No technical details available.</span><br />
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<span style="font-size: x-small;">“Clear Mountain Stream” <span style="font-family: "arial" , "helvetica" , sans-serif;">by Zhou Xing 47 x 50 cm</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="color: #f6b26b;">Link to more on</span> <a href="http://mubaneducationaltrust.org/met-shop/prints/" target="_blank">Zhou Xing</a></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcb090ug6XQK3W4QqCk19rvtG6D-4CPNs5JVK6LqFt-Wgqv4LsuQiOVrcD33KzypQs6Yp0GHPAfxGkOnFa16nqsXCeZAZI5SL7XeIZA_-5OJU6yVnteUwzajdv4wx1hv2BNLc3Zt8M_GQT/s1600/zhang-xiaochun+reduction+woodcut.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1001" data-original-width="1160" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcb090ug6XQK3W4QqCk19rvtG6D-4CPNs5JVK6LqFt-Wgqv4LsuQiOVrcD33KzypQs6Yp0GHPAfxGkOnFa16nqsXCeZAZI5SL7XeIZA_-5OJU6yVnteUwzajdv4wx1hv2BNLc3Zt8M_GQT/s320/zhang-xiaochun+reduction+woodcut.jpg" width="320" /></a></div>
<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The same goes for this piece by Z</span></span>hang XiaoChun - his is the second print down from the top of this post.<br />
Here is a link to some more info on him on this <a href="https://www.artelino.com/articles/zhang-xiaochun.asp" target="_blank">website. </a><br />
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<span style="color: #e69138;">reduction woodcut. by <span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Z</span></span>hang XiaoChun</span><br />
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<span style="font-size: x-small;">Woodcut by Su Xin Ping- I like how 'disconcerted' this image makes you feel. </span><br />
<span style="font-size: x-small;">As a visual artist Su Xinping works with oil painting, lithography, etchings and woodcuts.</span><br />
<span style="font-size: x-small;">Over the past couple of decades he has also established an international profile. I like his surreal take on things and commentary from the old China to the new China.</span><br />
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<span style="color: #e69138;">Here is link to more</span> <a href="https://contemporarychinart.wordpress.com/2013/06/06/su-xinping-lithographs/" target="_blank">about him /his work</a><br />
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<span style="color: #e69138;">"Classical No.2" silkscreen by</span> <a href="http://www.redgategallery.com/Artists/Zheng_Xuewu-paintings/index.html" target="_blank">Zheng Xuewu</a>ale<br />
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I hereby include this print in a gesture of protest....<br />
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It's very disappointing to say that I could not find one single female printmaker from China....<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">this is by a non "X" artist</span><br />
<span style="background-color: white; color: #383938;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Li Hongren lithograph and embossing.</span></span><br />
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<span style="background-color: white; color: #383938;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>++++++++++++++++++++++++++++++++++++++++++</b></span></span><b style="caret-color: rgb(56, 57, 56); color: #383938; font-family: Arial, Helvetica, sans-serif;">+++++++++++++++++++</b><br />
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Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-86265217986044836302019-04-28T02:51:00.001+01:002019-05-02T22:12:45.236+01:00W is for woodcut printmaking - Karen Kunc - the smart Way <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MoG0GJ5nwZe0eBN-ao2D0PpJniO4WBrJZd5eugiNdL6NYFCTg8yBwfdZ0tn7pRzejYoJKrS31D24Lr0Hw7Pt11HOtih1Ea5jqgH0q3hxjrUj3MyUSPsb3-V9nNi96g1tbIf2gEg28wgg/s1600/BellAcqua_woodcut_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="575" data-original-width="1080" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MoG0GJ5nwZe0eBN-ao2D0PpJniO4WBrJZd5eugiNdL6NYFCTg8yBwfdZ0tn7pRzejYoJKrS31D24Lr0Hw7Pt11HOtih1Ea5jqgH0q3hxjrUj3MyUSPsb3-V9nNi96g1tbIf2gEg28wgg/s320/BellAcqua_woodcut_XX.jpg" width="320" /></a></div>
I have blogged on here in the past about an artist called Karen Kunc. Her relief wood cut prints are mind bogglingly sophisticated. I found it quite difficult to select which ones to include with this post because they look so complicated. <br />
<span style="font-size: x-small;">She has a lot of success commercially but for doing her own thing in her printmaking as opposed to making prints of animals and landscapes or seascapes, which sadly is what a lot of printmakers seem to do . Having said that I do of course appreciate why they are inclined to make what sells..</span><br />
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<span style="color: #999999; font-size: x-small;">Above: "Bell Acqua". Woodcut Karen Kunc</span><br />
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I wish it was possible to download ones most favourite videos from You Tube, as it is horrible when you go on there to look at something 'special' like for example videos covering a printmaking workshop where Karen was tutoring people on <i>her approach to using woodcut</i>, only to find that it has disappeared.<br />
Fortunately the videos I wanted to look at are still on there.<br />
I have viewed them previously - I even made notes when I previously looked at them but that was ages ago and I am on a new computer by now and despite what they say about it being the case that you can transfer all of your data over to a new Operating System - well that has not been my experience. There are lots of bits and pieces that I can't seem to locate.......fortunately I haven't come up against anything critical and irreplaceable as of yet. <br />
Let's just hope that, this remains to be the case.<br />
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<span style="font-size: x-small;"><span style="color: #999999;">Above: "The Wanting Pool" (detail) Karen Kunc</span></span><br />
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<span style="font-size: xx-small;"><span style="color: #999999;"><b>The Wood Block:</b></span></span><br />
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Birch Plywood seems to work well for this process. It will of course need sanding too. Image can then be transferred to the wood block. Use feint pencil for this. Karen mentions that she then uses a layer of shellac onto her woodblock. This she applies by buffing it on, with a cloth. <br />
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<span style="font-size: xx-small;"><span style="color: #999999;">I will use Lascaux acrylic hard ground as it will be easier and I know that it will protect the wood from being penetrated by the rolled on ink. Additionally I don't want to go out and buy yet another product, such as Shellac, when I have already got something that will work just as well.</span></span><br />
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<span style="font-size: x-small;"><b>THE VIDEOS </b></span><br />
The videos were kindly uploaded by <a href="http://mirka-h.blogspot.com/" target="_blank">Mirka Hokkanen</a> <span style="font-family: "helvetica"; font-size: 12px;"> She </span>is an artist, originally from Finland, who has been living in the USA for quite sometime currently residing in Honolulu Hawaii. I just love her "Bather" reduction relief print on the left - my cat used to groom himself similarly but these days I have to do all of his grooming for him and of course he doesn't approve of me trying to comb out his horribly dense tangles.<br />
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AS I mentioned I posted previously on my blog about these excellent videos, in which I just uploaded a photo of one of Karens woodcut prints and a link to the videos (which is now defunct).<br />
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Not to worry the link must have been on someones website which has now closed down. The links I provide here, takes you straight to You Tube.<br />
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This time however - I have taken a different approach as I really want printmakers to share in the wealth of Karen's experience and my enthusiasm. So I have carefully watched through, the videos of this workshop which comprise of six videos of approximately 12 minutes each, I did a lot of stopping and starting (which is an advantage if you are only able to watch the video recording as opposed to being present at the workshop, which took place at a place called <a href="http://www.sevshoon.com/" target="_blank">Sev Shoon Arts Centre in Seattle</a>, Washington State, USA. <br />
I have included their website address but It was 'forbidden" when I tried visiting it a while ago, on both my web browsers i.e., Safari and Google Chrome. For the sake of Seattle based printmakers I sure hope it hasn't closed down!?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnS5eRvkgSi0WTK5NnFkZwXC_8gBkcompY0TE2POlyAldASweFLK8pWAPPVDwh3ouwAlB3mdPAMWfo4UZTy0XzS34VZd_S11wKluOs3tR4jBByKBYiyr6YbWHUIazmG_jO5vf0VSGP1MYs/s1600/1_KK-edit_Asc.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1287" data-original-width="1600" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnS5eRvkgSi0WTK5NnFkZwXC_8gBkcompY0TE2POlyAldASweFLK8pWAPPVDwh3ouwAlB3mdPAMWfo4UZTy0XzS34VZd_S11wKluOs3tR4jBByKBYiyr6YbWHUIazmG_jO5vf0VSGP1MYs/s320/1_KK-edit_Asc.jpg" width="320" /></a></div>
<span style="font-size: x-small;">There are some <span style="color: #e69138;">other</span> videos on You Tube of Karen doing the actual cutting into the wood block with the Japanese style tools. These look like the quite expensive ones that cost about £30 each but I suppose if one really wanted to use these then it would be a case of gradually buying the essential cutting tools and then looking after them and over time increasing the tools and materials. </span><br />
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<b><span style="font-size: large;">My focus herein, is on the inking methods and strategies.</span></b><br />
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Above: <b>1</b><br />
Here we see Karen rolling ink in graduated colour ‘bands’ over the MASK(stencil) openings or ‘apertures’. Remember these could be cut or even torn away shapes.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuiribK_sZAz78mnHT96bjg0umMEj7dH3hVnaBZwB_SCx0JQzudxjf8cYs8vbSbcYtH7VSErdPxLYPCz4KNy1WTfjvZpyaKj8FoYvpal4M9hPLE6Qgv-xsz8rECfgqnwu4yUoHKEtzhhN1/s1600/2_Karen-Kunc-edit-Asc.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1285" data-original-width="1600" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuiribK_sZAz78mnHT96bjg0umMEj7dH3hVnaBZwB_SCx0JQzudxjf8cYs8vbSbcYtH7VSErdPxLYPCz4KNy1WTfjvZpyaKj8FoYvpal4M9hPLE6Qgv-xsz8rECfgqnwu4yUoHKEtzhhN1/s320/2_Karen-Kunc-edit-Asc.jpg" width="320" /></a></div>
<span style="font-size: x-small;">It seems that using ordinary craft brown paper works well for creating stencils and masks to use for inking the block. It can be used as a way of keeping other areas clean of course and we have all probably used a mask in this way at least once in the course of our printmaking. </span><br />
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<span style="font-size: x-small;">Above:</span><b> 2</b><br />
<span style="font-size: x-small;">Karen blending the edge of the ‘rolled on edge’ of the ‘inked areas’ with her finger tips, heal of the palm and the side of her hands - this will soften the edges of the inked areas where this effect is desired. Seeing an artist working in this way makes me a lot more interested in working with woodcut I must say. Those of you who are familiar with my work will know that I am "intaglio" orientated, in the main.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtaiePugRgD6BGLreWgnaK83kUnBUQeUWba8jRNXo-uA36QqlONahPIqhyphenhyphenEiPhN-5_wmXpMtfOeVNvUOCsqjiJ4X_5P4xjsWKmIXZE9UaS6Yewcz4PdDTZpnhYLJCycOXgb6G_l597gA7H/s1600/3_Karen-Kunc-edit-ASc.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1268" data-original-width="1600" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtaiePugRgD6BGLreWgnaK83kUnBUQeUWba8jRNXo-uA36QqlONahPIqhyphenhyphenEiPhN-5_wmXpMtfOeVNvUOCsqjiJ4X_5P4xjsWKmIXZE9UaS6Yewcz4PdDTZpnhYLJCycOXgb6G_l597gA7H/s320/3_Karen-Kunc-edit-ASc.jpg" width="320" /></a></div>
<span style="font-size: x-small;">Of course the stencil sheet will need to be kept in place by using low tack adhesive. Additionally one will devise registration marks for the printmaking paper which in this case is a Washi paper. Having the paper sheet smaller than the woodblock, make registration easier. Inks are Lithographic, being used for their higher pigment concentration and lack of dryer additives.</span><br />
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Above: <b>3</b><br />
Here we see the effect of applying a ‘graduated roll’ to specific areas through the paper mask. , The dusky pink colour gives way through to transparent and visually disappears to nothing - which I just love. It's important to bear in mind that the ink being applied to these areas is with small brayers and that it has transparent extender mixed in with it.<br />
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Left:<br />
Title: Land Escape"<br />
artists book<br />
Karen Kunc<br />
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<span style="font-size: x-small;">Love the colours on this piece the shapes especially like how that upward curved edge to the paper totally 'adds' to the overall affect.</span><br />
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Left: <b>4</b><br />
Here we can see the effect on the woodcut block - where Karen has inked the edges of a<span style="color: red;"> </span><span style="color: #e06666;">red </span>'triangular' shape. This was achieved inking around the edges of a cut-away triangle. It shows how she inks around the inner edge of triangular cut away shape on the brown paper mask. She also ‘softened’ it with her fingertips.</div>
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Left: <b>5</b><br />
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As the first proof seemed a bit too faint, with this proof, you can see that Karen has added less transparent base, to her ink mix, so that, in effect, as we can see, in this second proof the blue appears darker to the eye.<br />
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Left: <b>6</b><br />
Here you notice that each of the little circles have been rolled with different colours. In some cases the stencil was cut in such a way that eg circle 'a' had been cut away so that the 'aperture' was 'smaller' than the circle itself. In doing so - it opened up the possibility that its edge could be 'blurred' again by using fingertips. It seems to me that your finger tips which are only lightly dabbed on to the wooden block and is that this is a more direct and sensitive means of achieving the gentle effect. If one were to use eg a cotton ear bud it would be only too easy to take away too much.<br />
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Left: <b>7</b><br />
Oops I have just realised that the next video still says more or less the same thing as number six but I will include it anyway so that people won't wonder "<i>OMG what's happened to jpg number seven - oh I won't be able to get off to sleep tonight with worrying about it"!!</i><br />
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Left: <b>8</b><br />
I ought to have mentioned that Karen makes two cut woodblocks. One is a kind of 'positive' and the other a 'negative', and these two woodblocks interrelate. In cases where she might have <i>had to</i> cut-away large expanses of wood instead she cuts around the edge of the shape and then uses stencils to 'mask' the areas that should have been carved away.<br />
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Left: <b>9</b><br />
It seems that with this process that the proofs come out better by the time you get to the 3rd or the 4th proof. I have experience of this where Lino cut prints are concerned too. The paper Karen was using in this workshop was called Nishinouchi - she seemed to think it was an excellent choice for woodcut printmaking. It seems best to go through your pile of paper checking for any 'foreign bodies' specks etc that might be on its surface before you actually start inking and printing.<br />
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Left: <b>10</b><br />
Note in this video still - that you can see both of the inter relating woodcut blocks.<br />
Karen also runs each sheet through the press prior to putting it through on an inked block. She also puts one of these 'calandered' sheets of paper through the press(an etching press) on top of a block without any ink just to ensure that it behaves OK.<br />
Leave these blocks inked as they are , for when you wish to do some further cutting away from the block.<br />
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Note you should always <i>gradually add the colour ink to some transparent base</i> that you have set out on your worktop.<br />
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Woodblocks that are slightly imperfect as in, they have for example a 'depressed area' of the block ( that you hadn't noticed before cutting the block) WILL NOT 'pick up' the ink strongly enough when rolled through the press. <br />
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In this case have a Baran handy and then you can rub or burnish that area by hand.<br />
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Bear in mind before you go onto the second stage of your carving away from your woodblocks that you could make a new differently designed stencil/mask.<br />
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Karen Kuncs <a href="http://www.karen-kunc.com/" target="_blank">Portfolio website</a></div>
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<a href="https://constellation-studios.net/" target="_blank">Artists print studios</a> that she has set up</div>
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<span style="-webkit-font-kerning: none; text-decoration: underline;"><a href="https://www.youtube.com/watch?v=gIv6LZscC9Q&t=616s">https://www.youtube.com/watch?v=gIv6LZscC9Q&t=616s</a></span></div>
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<b><a href="https://www.youtube.com/watch?v=Ff-sv3FXO4Q&list=PL198iTumWaxlchb5kPeumpntUGnE5sE1e" target="_blank">My Channel for the KAREN KUNC woodcut workshop </a></b></div>
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<b>at Sev Shoon which has the 6 videos together</b></div>
Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-77795790519475332372019-04-27T02:22:00.001+01:002019-05-02T22:20:21.206+01:00V is for Vietnam<b>V is for Vietnam</b><br />
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Massacre at Huế City, Vietnam<br />
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The “Huế Massacre” is something that took place in Vietnam not that long ago. It was in 1968 and was at the hands of two opposing forces within Vietnam itself. Innocent people were shot indiscriminately, were beaten to death, were buried alive - it all took place over a period of almost one month. The estimated amount of people who were murdered is about 4,000. These included small babies, infants, children, their parents and also the elders.H<br />
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The Battle of Huế began on January 31, 1968, and lasted a total of 26 days.<br />
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"Ripple" Jeff Murphy USA<br />
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During the months and years that followed, dozens of mass graves were discovered in and around Huế. Victims included women, men, children, and infants. The estimated death toll was between 2,800.<br />
Here is a link to some <a href="https://en.wikipedia.org/wiki/Massacre_at_Hu%E1%BA%BF#Eyewitness_accounts" target="_blank">eyewitness accounts on Wikipedia</a><br />
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<span style="color: #999999;">Here is an image which represents a girl who was among those 'eliminated' Vietnamese people.</span><br />
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"Requium II" Aine Scannell, UK<br />
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"OrnamenNov1" Candace Nicol USA<br />
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"Lost for Words" Fiona Watson UK<br />
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The image was created for a project organised by Paul Thomson as part of his PhD studies. It was an online digital exhibition. As well as my own artwork I am including a selection of pieces from the Born Digital Portfolio.Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-48212232267812256292019-04-27T01:49:00.004+01:002019-05-02T22:30:21.617+01:00U is for Umber<div class="separator" style="clear: both; text-align: center;">
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U is for Umber and I suppose when I think of Umber - what I’m seeing in my minds eye is actually what is called "raw umber”. I don't know a lot about it other than, that it is considered to be within the ‘earth pigments’ category, and that it isn't as expensive as some other powder pigments. The printmaking ink which I first started using was made by <a href="https://intaglioprintmaker.com/" target="_blank">intaglio printmakers in London </a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoUZMGPNE2jn-g0B63fbmGxQISl7oeyq9jNgAPN0VVWl1dVApEVztiiPnggGBwOcyNHMDSc9KXy3bb7P24ex7Ooq5XDLrcIJiM7WLk6sD8IOkgfQsbaIDdSo15EYrDrXLOa8E2DWphrT2a/s1600/umberLONDON_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoUZMGPNE2jn-g0B63fbmGxQISl7oeyq9jNgAPN0VVWl1dVApEVztiiPnggGBwOcyNHMDSc9KXy3bb7P24ex7Ooq5XDLrcIJiM7WLk6sD8IOkgfQsbaIDdSo15EYrDrXLOa8E2DWphrT2a/s320/umberLONDON_XX.jpg" width="320" /></a></div>
Now when you hear of another pigment that's called "Burnt Umber", although you might imagine that it would be a <i>darker version </i>of the "raw umber” - <i>that</i> isn’t always necessarily the case. Different brands vary in what they offer.<br />
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Umber is a natural brown or reddish-brown earth pigment. Umber is darker than the other similar<br />
earth pigments, i.e., ochre <span style="color: #f1c232;"><b>a kind of dark golden yellow</b></span> and sienna <b><span style="color: #b45f06;">a kind of brownish red</span>.</b><br />
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In its natural form umber is referred to as 'Raw Umber'.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA1fYuR4YW-5vogcA6zXzem-hX1mwTusNonYDZjvGqFrP1C874h3AApmfs38Y96Ayf-kUBvlZQ_HeVL6lda8YjmhkGchn8a9XWolbrJes4v1zBjoJX8F2bO4uRuUmbHcgQNzGfmp6KCun2/s1600/charbonnel-colour-Raw-UmberXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1278" data-original-width="920" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA1fYuR4YW-5vogcA6zXzem-hX1mwTusNonYDZjvGqFrP1C874h3AApmfs38Y96Ayf-kUBvlZQ_HeVL6lda8YjmhkGchn8a9XWolbrJes4v1zBjoJX8F2bO4uRuUmbHcgQNzGfmp6KCun2/s320/charbonnel-colour-Raw-UmberXX.jpg" width="230" /></a></div>
<span style="font-size: x-small;">It had occurred to me that perhaps the word “Umbria” ( a place in Italy) was somehow connected to the word 'umber' - and indeed it is. Apparently that was where the pigment was first located and extracted. </span><br />
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As artists we all know that the umber coloured etching ink you get from Intaglio printmakers in London will quite likely be slightly different from for example <a href="http://www.charbonnelshop.fr/" target="_blank">Charbonnels etching ink</a>.<br />
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If you are particularly interested in the scientific nature, of umber pigment then here is <a href="https://en.wikipedia.org/wiki/Umber" target="_blank">Wikipedia</a>.<br />
As mentioned, there can be variations that tend towards a slightly more yellow, red or even grey.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBhjzNc8L5QcdUEVLB8tQZ94XHmw713Qw8ORRUkZ5vvSzn0u0vcdSHFsvjUUl7YcpcoMr5CcHf6UEVZMMVaPN_h1SKTZIk7ocV7hd8Ukyfrlyi9MX2GL6-xCaRYCSQPBxx7Rt7mbnsgoJk/s1600/SilverRiderAluminCollagraph_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="752" data-original-width="658" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBhjzNc8L5QcdUEVLB8tQZ94XHmw713Qw8ORRUkZ5vvSzn0u0vcdSHFsvjUUl7YcpcoMr5CcHf6UEVZMMVaPN_h1SKTZIk7ocV7hd8Ukyfrlyi9MX2GL6-xCaRYCSQPBxx7Rt7mbnsgoJk/s320/SilverRiderAluminCollagraph_XX.jpg" width="280" /></a></div>
<span style="font-size: x-small;"><span style="font-size: xx-small;">OMG..I had so much trouble with this umber coloured print. </span><span style="font-size: xx-small;">It was originally drypoint on aluminium plate. But it just wasn't 'happening' so after degreasing the plate I added <a href="https://www.hyatts.com/art/golden-acrylic-absorbent-ground-pastel-8-oz-H79555" target="_blank">pastel ground</a> + sanded it gently so it'd hold more ink.</span>I also made small figurative plates which also gave me grief. I was making prints for an exhibition <a href="https://fifedunfermlineprintmakers.org/" target="_blank">my print workshop</a> was hosting and I was running out of time! So in the end I had to do some 'hand embellishment' using <a href="https://www.stabilo.com/uk/products/colouring/colouring-pencils/stabilo-carbothello/" target="_blank">Carbothello water soluble pencils</a>. I highly recommend them for this kind of task, they are not cheap but they are worth it and they last for ages.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrUxpN405kGMRAAsExvPQKfGekrCKitPK_TRKudo3Myap0MK_QT3cena7X68kB26buifRzGvrvuzoNjwRE3zPrl4Xxbp7pEPzIVmyDp7HMY0fCJkuHZ7WnfjEGl4oRSkYoFY_b087yB9Bk/s1600/UmberInked2woodPlanksProof_40x50cmXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="709" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrUxpN405kGMRAAsExvPQKfGekrCKitPK_TRKudo3Myap0MK_QT3cena7X68kB26buifRzGvrvuzoNjwRE3zPrl4Xxbp7pEPzIVmyDp7HMY0fCJkuHZ7WnfjEGl4oRSkYoFY_b087yB9Bk/s320/UmberInked2woodPlanksProof_40x50cmXX.jpg" width="320" /></a></div>
What you see here is the 'background' onto which, the image below this, was created. It shows a proof of some wooden planks that were inked intaglio and rolled through the etching press. The planks came from a dilapidated chest of drawers which my partner broke up and then I spotted them ...ah ha I said!<br />
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Ink in the grooves of the woodgrain was one of those visual effects that had eluded me for some time. And I have always been heavily orientated towards 'intaglio' printmaking, as opposed to relief. Loving its intrinsic tactile embossed characteristic. It took ages before I actually got around to doing something further with it. The wood was inked with London Intaglio ink + the paper sheet size was about 40 x 55 cm Hahnemuhle paper (my favourite).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0vgJQxMSHROO__c0TOsDV1XQOsXPKADEd5YShuaUQJOqCLMsE6Fxhh0gniviTz3H4JpOvZ8hXmpC6JySY5RJ5CasbdgLIa0gnSqTygVPu56WQ3MaREV_PMDPezGtv9DHi5PMeITjMUhKR/s1600/Umber_Grace_monoprintXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="802" data-original-width="988" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0vgJQxMSHROO__c0TOsDV1XQOsXPKADEd5YShuaUQJOqCLMsE6Fxhh0gniviTz3H4JpOvZ8hXmpC6JySY5RJ5CasbdgLIa0gnSqTygVPu56WQ3MaREV_PMDPezGtv9DHi5PMeITjMUhKR/s320/Umber_Grace_monoprintXX.jpg" width="320" /></a></div>
<span style="text-align: center;">I had come </span>across this image from World War One, which showed a mother and her children who had to leave their home in Belgium and go seek refuge elsewhere. It was a low res image that I had worked into to improve sufficiently for use. Throughout 2018 the BBC had broadcast a serial on <a href="https://www.bbc.co.uk/programmes/b047qhc2" target="_blank">Radio4 called "Home Front"</a> which was set in Folkestone in the south of England and those two things along with a lot of the other cultural 'events' of 2018 compelled me to make this piece about them, even though I had no idea really who they were. This makes me realise there are lots of photos around now (e.g., Syria, Myanmar) that in the future, will be like this photo, 'unknown'. I had never used so much coloured Inbe(blue) washi paper, in one print before BUT I found it necessary.<br />
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<span style="color: #666666; font-size: x-small;"><span style="text-align: center;">ABOVE. Title: “There but for the Grace” monoprint - wood intaglio, relief print and inkjet chine colle. </span>40 x 55 cm</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMHJgJcphH6cgCzBkAiGxdkj6WyqYdwmSoEPzetmM_Cg6j30fq-T2cY-B9KsKxgkZCzBbbi5jwRiRyLC-xXhpAv8pmz6kU2erdrTHE8KopMJIpmsoeo5DW7_ckTprQMZWO5dkCedOrVJWz/s1600/brown_wood_intaglioPLAN2_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="776" data-original-width="769" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMHJgJcphH6cgCzBkAiGxdkj6WyqYdwmSoEPzetmM_Cg6j30fq-T2cY-B9KsKxgkZCzBbbi5jwRiRyLC-xXhpAv8pmz6kU2erdrTHE8KopMJIpmsoeo5DW7_ckTprQMZWO5dkCedOrVJWz/s320/brown_wood_intaglioPLAN2_XX.jpg" width="317" /></a></div>
Funnily enough I came across this photo while researching my photos for this post and came across this image. It's what I call a 'print map'. If I have anything with more than two 'elements' e.g., a piece of coloured Inbe paper and a plate element....then I have to do a photo (or I just forget). However it does not mean that I will necessarily <i>make the print</i>. I think this one is still sitting in the 'in progress' pile.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY2frD74OKCGoigKtJQMx1LKtw7FFRc4HwQd4WYLjm_N8LpxqCMOIwK2WnBOQNr_9LRg4lxGIUJhQUlE0YsRB3ZheQf-n1w93J8lKMmnCbomPQWoU4975dHff3wkIVTKMa0Iweb9IcWMwP/s1600/colagraph_heart_proof2100dpi.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1281" data-original-width="1015" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY2frD74OKCGoigKtJQMx1LKtw7FFRc4HwQd4WYLjm_N8LpxqCMOIwK2WnBOQNr_9LRg4lxGIUJhQUlE0YsRB3ZheQf-n1w93J8lKMmnCbomPQWoU4975dHff3wkIVTKMa0Iweb9IcWMwP/s320/colagraph_heart_proof2100dpi.jpg" width="253" /></a></div>
<span style="font-size: xx-small;">See how dark the umber coloured ink looks here - oh now that I think about it - this drypoint on polypropylene, was inked up using Akua Intaglio ink. This is their "Burnt Umber". I love how quick, easy and much less laborious, using these inks are. They are soya based created by printmaker artists for professional use. Clean up with soap and water or sometimes even with baby wipes. I am glad I made the change-over, even though I could hardly afford it financially. </span><br />
<span style="font-size: xx-small;">I would buy a couple of pots from <a href="https://www.artifolk.co.uk/akua-8oz-intaglio-ultramarine-blue-s3-please-note-mainland-uk-delivery-only-13325.html" target="_blank">Artifolk (UK)</a> every few months which would cost about £36. Gradually I built up the 'colour family' I needed. Akua is now owned by <a href="https://www.speedballart.com/product/akua-intaglio/" target="_blank">Speedball (USA </a>)- the people who do those excellent <a href="https://www.speedballart.com/our-product-lines/speedball-printmaking/speedball-blockrelief-printing/speedball-block-printing-tools-accessories/speedball-brayers/" target="_blank">soft rubber brayers</a>) I just wish they were wider than 15 cm (6 inches) AND had a bigger diameter. I ought to write to them.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinjMN4Q5iZeiB3QM9WqHmutrroCoeUVkttASLX-fi4SBmVFzh5pMtUW2ZqaI5EmOOAZ3Ug-SLw_y69RY6OlHi2cQ37LgAxQZBrbQSBAMqdxRaEQgO9_s1ozA-hx7f_h1rEIwNVIGkOn72W/s1600/My-heart-goes-out-to-you_6XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="882" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinjMN4Q5iZeiB3QM9WqHmutrroCoeUVkttASLX-fi4SBmVFzh5pMtUW2ZqaI5EmOOAZ3Ug-SLw_y69RY6OlHi2cQ37LgAxQZBrbQSBAMqdxRaEQgO9_s1ozA-hx7f_h1rEIwNVIGkOn72W/s320/My-heart-goes-out-to-you_6XX.jpg" width="282" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">I made the heart image with an idea towards a final outcome. At the end of almost every 'vein' would be a small circular intaglio plate and underneath each would be a piece of inkjet chine colle paper with the image of a child who had been killed in the war in Syria.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Again I wouldn't know who they were. Honestly in a way I know its pathetic but as somebody who's disabled and financially challenged - I feel powerless and inadequate where these people especially children are concerned. It seems to me that sadly its really a form of legitimised murder. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Wars are so horrendous and the longer they endure the more complex they become - I mean these people were just some citizens<span style="color: red;">*</span> having the audacity to ask that they be treated with respect... demanding they be granted their human rights....I kept wishing that someone would accidentally drop a few bombs onto Mister B. al-Assad's 'hang-out'. </span><br />
<span style="color: #7f6000; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Above not the exact plan but a version I made using a pigment inkjet image with the drypoint intaglio heart on top</span><span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #999999; font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxHyUjV6dPMlouHNqaCZiULUIznh9PmdMqTnPRaScpiuWPQiFbHM2bgEOeh4dylgpxrsQYUSdTifQbhc_A2a_UqjOCraWxobq-0L1m7f57bUUU4wAo4BH6pGKFKA0WPkDfNn9p6s-KOgcB/s1600/Umber_Little_Dreamer_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="686" data-original-width="946" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxHyUjV6dPMlouHNqaCZiULUIznh9PmdMqTnPRaScpiuWPQiFbHM2bgEOeh4dylgpxrsQYUSdTifQbhc_A2a_UqjOCraWxobq-0L1m7f57bUUU4wAo4BH6pGKFKA0WPkDfNn9p6s-KOgcB/s320/Umber_Little_Dreamer_XX.jpg" width="320" /></a></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Another thought I have had is ....I wonder how he explained the decimation of the entire country to his children.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="font-style: italic;"><span style="color: #999999;">"Well you see these terrorists(</span><span style="color: #cc0000;">*</span><span style="color: #999999;"> ) were making street protests complaining about how bad I was and the government...Aye...they were breaking all the windows and attacking the policemen......so I had to defend us........as .they didn't like us '</span></span><a href="https://en.wikipedia.org/wiki/Alawites" style="color: #999999; font-style: italic;" target="_blank">Alawites</a><span style="color: #999999; font-style: italic;">' and would they would have come to our house and probably would have hurt you"............</span>not<span style="font-size: xx-small;"> well it hurt my over inflated ego so much that I thought no no no...I will not be dictated to by my own people. <i style="color: #999999;"> "How dare they".</i></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #7f6000; font-size: large;">This final piece which uses umber for the intaglio elements eg the spider and the arch shape. It is printed on top of an ochre coloured aquatint background, the little sleeping figure on the right was made from a scan of a drypoint I had created earlier. It wasn't the right orientation - so I scanned it, flipped it, and out put it onto some washi paper to use as chine colle.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #7f6000; font-size: large;">It's called Little Dreamer, and it's about 36 x 46 cm.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #7f6000; font-size: large;">I like to think that this piece is somewhat more optimistic that it represents a child being surrounded by comfort and a place where they can play..but most of all have HOPE.</span></span>Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-23302117901823404302019-04-26T02:26:00.001+01:002019-05-03T02:18:46.937+01:00T is for Trace MonotypeT is for Trace Monotype<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5rONzO67LttsNVWbH2NDawB-DzV_IigO9XHXHElmeARMKBSgerY0_Dk_MoBQ2jt0ASPAhMOGlaRbkxu4EHgnlcwPCceSpfaqqBab33gzNpCgm5pWAkCDgyADok5dbGXiWZURpcIY81fRq/s1600/HoleinGround_Tmono2x.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="672" data-original-width="875" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5rONzO67LttsNVWbH2NDawB-DzV_IigO9XHXHElmeARMKBSgerY0_Dk_MoBQ2jt0ASPAhMOGlaRbkxu4EHgnlcwPCceSpfaqqBab33gzNpCgm5pWAkCDgyADok5dbGXiWZURpcIY81fRq/s320/HoleinGround_Tmono2x.jpg" width="320" /></a></div>
<span style="font-size: x-small;">When I started outing my training to be a fine artist - I trained as a 'painter' - I just didn’t know any better. The thing was though, that something just wasn't 'right’.Gradually over time I began to realise that I very much preferred working on paper. AND the technique that I employed over many years before I got seriously into printmaking 'properly' was trace monotype.</span><br />
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<span style="font-size: x-small;">Above: trace monotype on 30gsm Lokta paper 30x20cm</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgerTTfna8iCjQwGV6yc1TseTpGe4f1FJwx33yB3s-UehNwYTsBqk3vgz7PrHVXI5-ESToGuXdUCOZLHoKFHvh_PrInhouZpAGMac55F4Puh_bnM4YxRT0aqVzI0g8ZhVlfRud243R4i-9V/s1600/IndianGirl_fromLaos2x.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="866" data-original-width="638" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgerTTfna8iCjQwGV6yc1TseTpGe4f1FJwx33yB3s-UehNwYTsBqk3vgz7PrHVXI5-ESToGuXdUCOZLHoKFHvh_PrInhouZpAGMac55F4Puh_bnM4YxRT0aqVzI0g8ZhVlfRud243R4i-9V/s320/IndianGirl_fromLaos2x.jpg" width="235" /></a></div>
Of course the other problem was that I was always 'financially challenged' so of course, that affected the kinds of art materials that I was able to buy. <br />
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From the time I stopped more or less making paintings on canvas in my attic studio......I tended to use 'trace monotype' at the initial stages of creating new works. <br />
I even remember that I used to like pressing the edge of the plate with my fingers to get that emboss-like mark at the edge of the image area.<br />
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<span style="font-size: x-small;">Left: trace monotype on Lokta 30 gsm paper</span><br />
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I would say that about 50% of the time I would leave the monotype prints as they were. The remaining 50%, I would work into them further using oil pastels, watercolour pencils and watercolour crayons. Of course that doesn't account for the ones that were just a total disaster and 'didn't even qualify for working on their back sides'!..This is something I do now - well given that printmaking paper isn't exactly 'cheap' you can understand.<br />
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<span style="font-size: x-small;">Above: an example of a 'developed' trace monotype print</span><br />
<span style="font-size: x-small;">with oil pastel, carbothello pencils and soft pastels</span><br />
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On a good day I would create, about 12 prints. The size was approximately 44 x 64 cm and they were made on good grade Cartridge paper using oil based etching ink. I didn't have an etching press at that time. At some point I experimented with using a very small amount of microcrystalline wax mixed in with the etching ink...and was very pleased with the result a unique velvet-like effect.<br />
It's definitely the kind of thing that you can only truly appreciate by seeing it with your own eyes. But this image of green ink on white paper (using the wax), gives a sense of the image.<br />
Here is a link to a previous <a href="https://printmakingart.blogspot.com/2010/07/trace-monotype-with-microcrystalline.html" target="_blank">blog post about the procedure </a><br />
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<span style="font-size: x-small;"><b>PROCESS * TRACE MONOTYPE</b></span><br />
<span style="font-size: x-small;">For those who are unaware of this technique </span><br />
<span style="font-size: x-small;"><span style="color: #b45f06;">Essentially, using a brayer</span> you <span style="color: #b45f06;">roll out a thin layer of</span> intaglio printing <span style="color: #b45f06;">ink</span> onto a non porous surface eg <span style="color: #b45f06;">metal or</span> a<span style="color: #b45f06;"> perspex</span>-like material (<i>hereafter referred to as a plate / in printmaking terms</i>). You can use any shiny surface really. I like to use a plate because I can then press around the edges to get that embossed mark. Additionally with the 'negative' left on the ink plate - I can run that, through my etching press. Sometimes these negatives have potential for further development.</span><br />
<span style="font-size: x-small;">image is from </span><span style="font-size: x-small;"><a href="https://www.instagram.com/hotforwords/" target="_blank">hotforwords on instagram</a>........</span><br />
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<span style="font-size: x-small;"><span style="color: #b45f06;">There after, place your paper on top of the inked plate. Use masking tape along the top edge of the plate to keep it in place. </span>You <b>do not want it</b> to be moving about as you are drawing/ impressing the pencil line onto the paper so that it picks up the ink.... <span style="color: #b45f06;">t</span><span style="color: #b45f06;">hen start drawing, mark-making and be aware that wherever pressure is put onto that paper, you are working on, <b>marks, will result</b>. </span> So don't just place your other hand on half of your paper area, or else you might just end up with a big U.F.O., blob of black ink, which might 'spoil' an otherwise fairly good trace monotype print.</span><br />
<span style="color: #999999; font-size: x-small;">image is from <a href="https://paperworks.info/index.html#" target="_blank">PaperWorks-Sonoran Collective</a></span><br />
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<b>Trouble shooting</b><br />
<span style="color: #b45f06;">Check from time to time by lifting the paper to see how the 'ink-pick-up' is going</span> if it is very faint you may need to press harder with your pencil. It could also be that you have not applied enough ink. Another possibility could be that you are using paper that is just too thick (100 gsm and above).<br />
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<span style="font-size: x-small;">A certain amount of "dotty-ness" is 'par for the course', as in, this is the <i>unique characteristic of the technique</i>. I suggest you do a test plate where you use a pencil, a stick of graphite, different grades of pencil 2H 3B and so on. I like being able to see what I have drawn on the paper so that I can anticipate the 'look' of my finished artwork.</span><br />
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<u>image:</u> <span style="color: #6fa8dc;"><a href="https://www.instagram.com/copious.stones/" target="_blank">(from copius.stones on instagram)</a></span><br />
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<span style="font-size: x-small;">Using light blue ink random circular shapes demonstrates the "dotty-ness". I have heard people refer to this as "noise" <i>so it is a term that is used by printmakers</i>. Some noise is desirable but too much and the image is kind of wrecked. You need to do this activity a few times, to 'get the hang of it'. </span><br />
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In order to remove the top layer of ink, you <span style="color: #b45f06;">place an old newspaper over the top of the plate and rub it all over the 'plate' in order to remove a 'layer' of ink.</span><br />
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Otherwise the lines that you draw onto the paper, with your pencil, will be too thick.I think for the first few images it is best to already have a feint drawing on your paper.<br />
<span style="font-size: x-small;">Image: I did some trace monotypes into a book of poetry that was written in English and in Japanese. I had to bear in mind the orientation of the image so I had to draw it the 'opposite way round' to how I wanted it to appear on the page.</span><br />
You can have your 'design' drawn on your paper with lightweight pencil lines, that way when you start pressing the lines in the image, onto the paper placed over the inked plate, <span style="color: #b45f06;">you will be able to see where you have 'drawn' your lines to pick up the ink on the plate.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM7CT-a1SoNWUMfAEGuqU7y7-xGbj1q5bcUCN8H8UAugJ8uqUMF7qn-Xs5PtohcpOksHVED4z82kH5h95uSeYefEm3W9LBZZxnmQ4NKyK_ntlStvdshX87gKOqhIqVCJiVdfxQHPmB5WKl/s1600/pastel-amended-trace-monotypeXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="691" data-original-width="929" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM7CT-a1SoNWUMfAEGuqU7y7-xGbj1q5bcUCN8H8UAugJ8uqUMF7qn-Xs5PtohcpOksHVED4z82kH5h95uSeYefEm3W9LBZZxnmQ4NKyK_ntlStvdshX87gKOqhIqVCJiVdfxQHPmB5WKl/s320/pastel-amended-trace-monotypeXX.jpg" width="320" /></a></div>
<span style="font-size: x-small;">TEST how the paper behaves - before you start making the image you want as your 'proper' artwork. Just do something simple with some shading etc.You dont have to use the full size as per your final piece - just get a good sense of how the materials perform. It's always worth doing to avoid wasting time and money in the long run never mind utter frustration!</span><br />
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<span style="color: #999999; font-size: x-small;">Image one of my trace monotypes developed further with chalk pastels</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq4g9RiS1mHlekpRqX6NccVyUhdb-HheEAmK7LbS9lVom7xImmFLIhZLELSojTLd6V1IqLjYKo8FhNUYFFTcw_HOcX3PHZubYrqZ3uuvP3eDticdgnpQEfb_2FCa3UMS_1IWgBp3IJZtW5/s1600/lino+and+trace+monotype+Strategy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="650" data-original-width="787" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq4g9RiS1mHlekpRqX6NccVyUhdb-HheEAmK7LbS9lVom7xImmFLIhZLELSojTLd6V1IqLjYKo8FhNUYFFTcw_HOcX3PHZubYrqZ3uuvP3eDticdgnpQEfb_2FCa3UMS_1IWgBp3IJZtW5/s320/lino+and+trace+monotype+Strategy.jpg" width="320" /></a></div>
Of course the best way to understand how to do trace monotype is by watching somebody doing it so here is a video link<br />
Image: which I found on the internet absolutely ages ago - I think it's an excellent use of trace monotype. The way it sits between the two horizontal areas of Lino cut. I have been unable to attribute this artwork what a shame......<br />
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First an overview all in <a href="https://www.youtube.com/watch?v=vSBkHBQt7rU" target="_blank">video by Belinda Del Pesco</a><br />
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Secondly a tutorial in 4 parts where all of the variables are explored including papers<br />
<span style="font-size: xx-small;">These videos are by someone called "Craftybirdie" who is a UK based artist - that's all I could find out</span>.<br />
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<a href="https://www.youtube.com/watch?v=9rzXmnLoKG8" target="_blank">Trace Monotype Printmaking Part 1</a><br />
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<a href="https://www.youtube.com/watch?v=8oXKuNjS0os" target="_blank">Trace Monotype Printmaking Part 2</a><br />
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<a href="https://www.youtube.com/watch?v=K1DWQmbSljc" target="_blank">Trace Monotype Printmaking Part 3</a><br />
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<a href="https://www.youtube.com/watch?v=pMNiIaf1kbE" target="_blank">Trace Monotype Printmaking Part 4</a>Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-14296381848159176852019-04-24T02:09:00.001+01:002019-05-03T15:31:51.598+01:00S is for SirinS is for Sirin<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I came across this word a few days back whilst researching something else? Anyway that word SIREN connected with my longstanding interest with the idea of mythological forms - and in particular- hybrids.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This image which is somewhat more recent than some of the images of Sirin I came across, is an etching with chine colle by </span><span style="background-color: white; color: #333333;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.artlondon.com/Marina-Korenfeld/Eternal-Game/" target="_blank">Marina Korenfeld</a>.</span> </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">The “Sirin” I had come across was – the half-woman, half-bird creature originating from Russian mythology. Of course some of you will also be familiar with another term for this kind of creature "Harpy".</span><br />
Although I could have chosen from many images extant from Medieval times onwards ……. I instead selected two contemporary printmakers both of whom were former USSR citizens. Marina Korenfeld from Ukraine and Karolina Lusikova from Belarus<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I could only find one link for </span>Karolina Lusikova and had to put it through <a href="https://translate.google.com/translate?hl=en&sl=it&u=https://kou.gallery/en/artist/gulia-karolina-lusikova-2/&prev=searc" target="_blank">Google translate</a></span><br />
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What I love most about the ideas of creatures such as SIRIN is that they are HYBRIDS. …and this was a concept I first encountered when I was about 11 yrs old. <br />
At that time I remember making a book about Roman or Greek Mythology - possibly it was a combination of the two. I think it was a self initiated project but whatever the original impetus I was so interested and utterly enthralled with mythology.<br />
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I had a bit of a phase I went through where I seemed to want to write and create books. It has to be made clear that I was referencing physical books as this happened in the era before the internet. Once a week my mother would take my brother and myself to the main Library in Cork city. Of course the bigger the art books the heavier they were to carry but that was just one of those things you did. Once you got them home you could enjoy them.<br />
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<span style="color: #999999; font-size: x-small;">Above: image from one of my artists books made using a composite of trace monotypes and handwriting with some photoshop size: 30 x 20 cm</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9NmA66PiudOPndpbX1hmdWaLcnyv1S1-PKURhFq2lxANbXcNg5Dxy_7dBqUbcK9AhOY9R3gO6zVEsGZ2wArctYw1xH-rM-0t2yruULBW7ROxRSI9mRD0ws0ymHzqsN3DdisH4a9TcQp7t/s1600/Selkie-animalia_SFW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="472" data-original-width="472" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9NmA66PiudOPndpbX1hmdWaLcnyv1S1-PKURhFq2lxANbXcNg5Dxy_7dBqUbcK9AhOY9R3gO6zVEsGZ2wArctYw1xH-rM-0t2yruULBW7ROxRSI9mRD0ws0ymHzqsN3DdisH4a9TcQp7t/s320/Selkie-animalia_SFW.jpg" width="320" /></a></div>
It was a treat and it was very quiet in there and the staff were friendly and what was really great was that from when I was aged 12, I could access the adult section so I could read and look at whatever I liked.<br />
Mind you I wasn't in the know of anything particularly "adult" so I generally just loved being able to get large art books out with loads of big photos of art works in. Being able to just do my own thing. I have always loved books and reading.<br />
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<span style="font-size: x-small;">Above: a sketch of a <a href="https://en.wikipedia.org/wiki/Selkie" target="_blank">selkie</a> that I first made a few years ago with trace monotype.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYK2WrSKls712UUp08KlHGQezOfKY0p96Jubmkp4FrKs68T5CxlHz-epchxaCSsWROxVIUKstFN6xfv0arpiuPuQRT5NNSWeN4iQR8VrOyacS1JLZIRAkXPYO9ydYSYi6NknV8Wr4tFeT4/s1600/FemSerpent_hybrid_SFW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="472" data-original-width="472" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYK2WrSKls712UUp08KlHGQezOfKY0p96Jubmkp4FrKs68T5CxlHz-epchxaCSsWROxVIUKstFN6xfv0arpiuPuQRT5NNSWeN4iQR8VrOyacS1JLZIRAkXPYO9ydYSYi6NknV8Wr4tFeT4/s320/FemSerpent_hybrid_SFW.jpg" width="320" /></a></div>
Getting back to Sirin and Hybrids of a mythological nature - oddly enough, the closest thing we have for a general word containing the meaning of 'half-human, half-animal' is <a href="https://en.wikipedia.org/wiki/Chimera_(mythology)" target="_blank">Chimera</a>. which generally refers to a shapeshifter, chameleon like being.<br />
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The white image on the green leaf here is <a href="https://en.wikipedia.org/wiki/Echidna_(mythology)" target="_blank">Echidna</a> a half-woman, half-snake from Greek mythology<br />
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<span style="font-size: x-small;">Well I absolutely still love creating hybrids within my own artwork. The insane thing is though, that when I encounter a fellow house resident watching a fictional TV drama such as a Zombie type weekly serial……I find it irksome as I can’t stand that kind of production</span>.<br />
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<span style="font-size: x-small;"><span style="color: #999999;">This image is one of many used in a print series called "Animalia"</span><span style="color: #cccccc;">(working title).</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLpj2lHKAzDJ-9SaPy3_3QOROlyluug8I8juI8fDM7Ho6ZoYhA113MbBx2EmcYtjHR2lS5Cu-nn7aRQobaBpma_t_oe-CTnllCirMv670VcnBYWsvWYaSj0Ax-6_kCILlDcAtSEDNrqQmm/s1600/Sappho_SFW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="877" data-original-width="1227" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLpj2lHKAzDJ-9SaPy3_3QOROlyluug8I8juI8fDM7Ho6ZoYhA113MbBx2EmcYtjHR2lS5Cu-nn7aRQobaBpma_t_oe-CTnllCirMv670VcnBYWsvWYaSj0Ax-6_kCILlDcAtSEDNrqQmm/s320/Sappho_SFW.jpg" width="320" /></a></div>
<span style="font-size: xx-small;">One might posit that Zombies are mythological creatures but those tv dramas seem more about violence + there tends to be a 'lack of plot'. With contemporary animations using CAD generated animations - I tend to find the visual aesthetic pretty awful. I ‘m afraid I just dont like these - preferring animations that have been created with a good amount of hand drawn material</span><span style="font-size: x-small;">.</span><br />
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Above: Sappho - my representation of Sappho for inclusion in an artists book project with a Polish artist, <a href="https://the9books.wordpress.com/" target="_blank">Anna Juchnowicz</a> <span style="color: #999999; font-size: x-small;">drypoint and chine colle 20 x 30 cm</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3nBGBp3lje9WA984XJyewL8aLzdu97mAoi0wQkW3paeDq1Ye2dPaGmIG2Yy57dXGriR1oLEiSn_vDG8YJANwn6Y5H47uFdWeJcqmjo0TVFcWNJyXfxoirFU3h2MYhWB5TR-YDl7EvgajR/s1600/SAtyrhybrid_SFW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="841" data-original-width="862" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3nBGBp3lje9WA984XJyewL8aLzdu97mAoi0wQkW3paeDq1Ye2dPaGmIG2Yy57dXGriR1oLEiSn_vDG8YJANwn6Y5H47uFdWeJcqmjo0TVFcWNJyXfxoirFU3h2MYhWB5TR-YDl7EvgajR/s320/SAtyrhybrid_SFW.jpg" width="320" /></a></div>
Another fantasy creature from Greek mythology is the <a href="https://en.wikipedia.org/wiki/Satyr" target="_blank">Satyr</a>, a hybrid of human and goat. Unlike many hybrids the satyr is not considered to be dangerous—apart from the fact that its character is said to be mischievous and hedonistic.<br />
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<span style="color: #666666;">"Satyr" drypoint on textured polypropylene. Size 20 x 30 cm</span>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUufCijvJBM5cPJcCADgONFboUxFSR5L_OMu3me4hgMxR2OT4Vm-1XiFETklLtQ5yeLLCFDBlSwWLGvF9xNCgc0IDghQcBvpmynLt5Kp5hVxrgRFkohao4dnzlMJMKpCCcCKqW6qgH6_l8/s1600/FemFox-animalia_SFW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="472" data-original-width="472" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUufCijvJBM5cPJcCADgONFboUxFSR5L_OMu3me4hgMxR2OT4Vm-1XiFETklLtQ5yeLLCFDBlSwWLGvF9xNCgc0IDghQcBvpmynLt5Kp5hVxrgRFkohao4dnzlMJMKpCCcCKqW6qgH6_l8/s320/FemFox-animalia_SFW.jpg" width="320" /></a></div>
One might consider why it is that these hybrids continue to interest us.<br />
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Experts in the field of mythology and human behaviour such as the late <a href="https://en.wikipedia.org/wiki/Joseph_Campbell" target="_blank">Joseph Campbell</a> have posited that that these hybrid creatures are a form of archetype, a way of people expressing their intrinsic love-hate relationship with that side of themselves that is 'animal' and that from which we originated.<br />
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<span style="font-size: x-small;">Others would view them far less seriously, saying that these are stories and visual motifs that are just part of our cultural heritage. </span><br />
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Above: I call her my little 'she fox' a drawing made ages ago. She has yet make an appearance in one of my artworks.<br />
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Here is a link to a <a href="https://en.wikipedia.org/wiki/List_of_hybrid_creatures_in_folklore" target="_blank">List of other hybrids in Mythology</a> for further exploration.<br />
<br />Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-7678767803888208792019-04-23T18:58:00.000+01:002019-05-03T16:10:35.606+01:00R is for Raffia<br />
R is for <b>Raffia </b><br />
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<b>What is it?</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOJ1O3Px3SRlYQDPY3d52d-V-ye-bdsdbVIxdXqypOKhCX2brJHDKoset900x2__u89042qDEj1cQMoR0cmKf6cQLxVlaGfc54XY3wMLEtd1uaZF6TNUABkWxuLOGLyrLe3LlkVDNLcQHu/s1600/1natural-raffia.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="293" data-original-width="600" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOJ1O3Px3SRlYQDPY3d52d-V-ye-bdsdbVIxdXqypOKhCX2brJHDKoset900x2__u89042qDEj1cQMoR0cmKf6cQLxVlaGfc54XY3wMLEtd1uaZF6TNUABkWxuLOGLyrLe3LlkVDNLcQHu/s320/1natural-raffia.jpg" width="320" /></a></div>
<span style="font-size: x-small;">Raffia material comes from a plant form which is a type of palm.</span><br />
<span style="font-size: x-small;">These kinds of plants are found in Africa, and Madagascar.</span><br />
<span style="font-size: x-small;">Further info here <a href="https://en.wikipedia.org/wiki/Raffia_palm" target="_blank">WIKIPEDIA</a></span><br />
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Raffia is a material I started using in my printmaking several years ago......it probably was a logical 'follow-on' from having previously used cotton string.<br />
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I do wish people would use <span style="color: #134f5c;">cotton string</span> or hemp string, as they used to, in the old days BEFORE people felt that they couldn't wrap something up or 'package' it, without using too much plastic sellotape or similar. <i><span style="color: #666666;">Let's care for our environment and have our gift packaging recyclable.</span></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBpsL75Yv6zZsVfQfiBME7daAFxofi2S3TuFdZAUNe_IZ7Is__VamedY35_ZGhbbAP3DswiPevAp_5jhmAJwcBA1Avp80mcjUu1Z5bFKNNr9UeFIK2Sz3DSeFKl4uvieQW9h9IcvH93zdw/s1600/forked-tongues-inked-string_SFW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="547" data-original-width="687" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBpsL75Yv6zZsVfQfiBME7daAFxofi2S3TuFdZAUNe_IZ7Is__VamedY35_ZGhbbAP3DswiPevAp_5jhmAJwcBA1Avp80mcjUu1Z5bFKNNr9UeFIK2Sz3DSeFKl4uvieQW9h9IcvH93zdw/s320/forked-tongues-inked-string_SFW.jpg" width="320" /></a></div>
<span style="font-size: x-small;">This piece titled "Forked Tongues" is comprised of a photopolymer steel plate made at EPW (<a href="https://www.edinburghprintmakers.co.uk/" target="_blank">Edinburgh Print Workshop</a>) in Union Street. It was not 'etched' just developed. Printed onto buff Somerset paper with two tiny little collagraph heads either side of the central square plate. In addition I placed <span style="color: #3d85c6;">blue inked string</span> right, left and below both the figures.</span> <br />
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The red ink was added with a cotton bud <i>after the print had been through the press</i>. I did all of this under the supervision of my dear friend <a href="https://printmakingart.blogspot.com/2006/11/birna-matthiasdottir-here-is-only-other.html" target="_blank">Birna Matthiasdottir</a>, who was living in Edinburgh at the time. I used to go to visit her occasionally from London and we would invariably go to either EPW or to <a href="https://fifedunfermlineprintmakers.org/" target="_blank">Fife Dunfermline Printmakers</a> Workshop (now my local open access printmakers workshop) to do some printmaking. The plate size is about 30 x 30 cm (12 x 12 inches).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx9opOD6jBcNV1a4insCeREvpM4R_FQoUC130nU6Ig_DyitgObUJ4MP_awOmbneRJDJAvVZM6OopT_ZGP92rHH4EB8YtXiY2hHZ0SodumjvgA7vDE_EtaxKevteJveMLeuUb3F47LTQ1or/s1600/image002-900x900.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx9opOD6jBcNV1a4insCeREvpM4R_FQoUC130nU6Ig_DyitgObUJ4MP_awOmbneRJDJAvVZM6OopT_ZGP92rHH4EB8YtXiY2hHZ0SodumjvgA7vDE_EtaxKevteJveMLeuUb3F47LTQ1or/s320/image002-900x900.jpg" width="320" /></a></div>
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By the way when I say COTTON STRING this is the kind of thing I am talking about.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6pqRRDCHnhqBluhqayG2u2_tkkgKxRZuCr7QNk1NNr7l7ZM2vJRiWnXsOQ4dyuvrknLiYM1inIAKX1WdAotQvUSNLmcM777ZdwybzL6E721nfzZN4Qd1JflcPvgJ5vM8PmrdAGWZc_rYz/s1600/skelly-boy-horse-on-maths-STRING_SFW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1149" data-original-width="993" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6pqRRDCHnhqBluhqayG2u2_tkkgKxRZuCr7QNk1NNr7l7ZM2vJRiWnXsOQ4dyuvrknLiYM1inIAKX1WdAotQvUSNLmcM777ZdwybzL6E721nfzZN4Qd1JflcPvgJ5vM8PmrdAGWZc_rYz/s320/skelly-boy-horse-on-maths-STRING_SFW.jpg" width="276" /></a></div>
This image which is from a series of prints called <a href="https://ainescannellfineart.weebly.com/elemental-traces.html" target="_blank">"Elemental Traces"</a>. It was created using a drypoint for the background yellow coloured algebraic 'math' along with chine colle and some <span style="color: #cc0000;">red inked cotton string</span> offset.<br />
It measures 15 x 15 cm (6 x 6 inches).<br />
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If you are going to try using inked string in your printmaking here are some tips<br />
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<b><u><span style="font-size: x-small;">TEST</span></u></b><br />
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Do a TEST of a piece of inked string onto the same paper you plan to do your <i>final proper finished print</i> on.<br />
This is important because it might be that you think the inked up string will have a certain 'weight' of intensity to it but the test might make you realise that you perhaps need to add some 'extender', or to add something to your ink to make it darker.<br />
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A). Measure your string as in, set it out, on the press bed along with your 'plates'. I sometimes will make a "print layout plan" so that I remember where to put things. Bear in mind the 'reversal factor' when doing this. This 'print plan' can always be covered over with some tissue paper before the actual finished inked string and inked plates are placed 'in-position'.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoMWwvvjwdwPIATlLJIacu3n3wKjEPXgO_DSqMIgQITolU-4p6mYUYqnxTdtHwEDSNL1i-46thGytEzKCXy9V2EIAt3AgaRJxbyGPO5QqocRSf1fiNOe4Nd9qyb0i7y3MrQpDpu-ORYZMU/s1600/elephant-miniprint-with-string_SFW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1550" data-original-width="1484" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoMWwvvjwdwPIATlLJIacu3n3wKjEPXgO_DSqMIgQITolU-4p6mYUYqnxTdtHwEDSNL1i-46thGytEzKCXy9V2EIAt3AgaRJxbyGPO5QqocRSf1fiNOe4Nd9qyb0i7y3MrQpDpu-ORYZMU/s320/elephant-miniprint-with-string_SFW.jpg" width="306" /></a></div>
Use an ordinary bristle brush (best it is somewhat stiff) and put the ink out on a plate that will be big enough for you to apply the inked brush onto the string (not too much ink - its easier to add more if needed) . I usually just use any plastic plate that's nearby in the studio. Then apply the ink back and front and when you have 'covered the entire string, it takes a little while - don't rush it or you may well regret it.<br />
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WIPING INK FROM STRING<br />
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You will need tight fitting disposable vinyl gloves on if you dont already have them, to do this effectively. Using phone book pages or old newspapers, place the string in between the paper sheets, hold the paper enclosed string vertically and rub back and forward, between your hands, to remove some ink. Then using recycled printmaking wiping tissue paper, do the same.<br />
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KNOWING WHEN STRING IS INKED SUFFICIENTLY<br />
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By placing the finished inked string onto a piece of kitchen paper, it shouldn't leave ink where it has been placed. That way you know it won't "squelch" and ooze ink, when it is rolled through the press. If there is ink visible onto the kitchen roll - then do another 'tissue paper wipe'.<br />
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LEFT: If you look closely you can see that on the left that the ink has 'blobbed' somewhat. So that gives you an idea of what 'going wrong' looks like. However in this instance as I only had the one print (pigment inkjet) with aran textile embossing, I thought - well its borderline and allowed it the b.a.t. seal of approval.<br />
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USING RAFFIA<br />
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I think I have given enough examples of using string in your printmaking as a strategy to designate a linear 'element' .<br />
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OK ...so then one time I thought I would use some raffia in my printmaking. After adding about 20% extender, I inked it back and front using a bristle brush again. This again was with oil based inks. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI6j0I3FMxvQ2CJiMpaLCP7tWIfeVfGzsb5cXN6tNhAjB4m2vXeomx7C912s-IzenKAhSQ4hDwPCIJTp776vuRIf6f0PmlpapvZqBdl5cGxxg-_WweG2cYFthGfaU9dQJVPNC-C196hYr7/s1600/InkstaiNandRaffia_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1177" data-original-width="798" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI6j0I3FMxvQ2CJiMpaLCP7tWIfeVfGzsb5cXN6tNhAjB4m2vXeomx7C912s-IzenKAhSQ4hDwPCIJTp776vuRIf6f0PmlpapvZqBdl5cGxxg-_WweG2cYFthGfaU9dQJVPNC-C196hYr7/s320/InkstaiNandRaffia_XX.jpg" width="216" /></a></div>
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I made sure I gave it sufficient wiping although not being as vigorous with the wiping. Obviously the raffia is flat so you are making sure you get the ink 'wiped' both sides. I mean you do have to add ink to both sides in case it 'flips' as it goes through the press. You have to appreciate that there is of course an element of chance using this, but the effects are lovely so I think its worth the effort.<br />
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<span style="color: #999999; font-size: x-small;">Left: raffia offset and collagraph onto pigment inkjet on Hahnemuhle paper</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizWGBbw7_d8ZMCSI8vzSHXt0Apzpgpkxnq9SPPSqVHbdyRqL8ao2vPmYSra_NQlbZ4UMBjaOBbB19DY5DkFNMXzDXXAPyRJT6Anf4JT2Cke8v9Juc2cMLeLOk5gns1FBvQlldwR6nc77ju/s1600/SinclairAshmanCloseUpOfRaffiaCollagrafPlat_SFW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="881" data-original-width="1176" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizWGBbw7_d8ZMCSI8vzSHXt0Apzpgpkxnq9SPPSqVHbdyRqL8ao2vPmYSra_NQlbZ4UMBjaOBbB19DY5DkFNMXzDXXAPyRJT6Anf4JT2Cke8v9Juc2cMLeLOk5gns1FBvQlldwR6nc77ju/s320/SinclairAshmanCloseUpOfRaffiaCollagrafPlat_SFW.jpg" width="320" /></a></div>
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OK so now we are thinking about using raffia as a material for platemaking. What you can see here is an image of a close up view of a collagraph plate with raffia, carborundum powder and varnishes on a birch plywood base board<br />
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- this is from the very excellent website of an artist by the name of Sinclair Ashman.(link below)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5vHp1dqVxEqPZhcEbjqc7_z_J7OX7LEiXTT6oZKyyuZ2esybAuuvKisoWYYLSN_OOA-L5vFBdo5tcQyrERMnAnCM96omktgUqUToMPjCb8oAeoUxjm8PEkSIzn9gREHpLQLKw9VEMnodt/s1600/5_SA_Raffia-SunburstPlateSFW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="907" data-original-width="1210" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5vHp1dqVxEqPZhcEbjqc7_z_J7OX7LEiXTT6oZKyyuZ2esybAuuvKisoWYYLSN_OOA-L5vFBdo5tcQyrERMnAnCM96omktgUqUToMPjCb8oAeoUxjm8PEkSIzn9gREHpLQLKw9VEMnodt/s320/5_SA_Raffia-SunburstPlateSFW.jpg" width="320" /></a></div>
<span style="font-size: x-small;">I discovered his printmaking activities several years back and I remember how enjoyable it was to encounter a printmaker who is an 'explorer' when it comes to the creation of his prints. </span><br />
<span style="font-size: x-small;">They are collagraph in the main and he gets up to all sorts where his platemaking is concerned. </span><span style="font-size: x-small;">Check out </span><a href="https://sinclairashman.com/prints/print-stories-garage-goodies/" target="_blank">Sinclair Ashmans website</a><span style="font-size: x-small;"> - it will be an inspiring experience.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgARfn8KNGV3SSMiG3Vi39CKC5FWmQrQ8fGt27tronL-A2tDcyFWWV4jxDz_IIH2a-V3Htm4uoSKOBXRv17JIztdR5dxewgoT6VnD6xrzgPpGXvuu1Z9kxIG6A_0UnSJFQOBK11Q-iyr5oT/s1600/Moment_raffia-collagraph-proof-SA_SFW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="881" data-original-width="1176" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgARfn8KNGV3SSMiG3Vi39CKC5FWmQrQ8fGt27tronL-A2tDcyFWWV4jxDz_IIH2a-V3Htm4uoSKOBXRv17JIztdR5dxewgoT6VnD6xrzgPpGXvuu1Z9kxIG6A_0UnSJFQOBK11Q-iyr5oT/s320/Moment_raffia-collagraph-proof-SA_SFW.jpg" width="320" /></a></div>
This is an angled view, of a piece of artwork titled “Moment“, that Sinclair made for an exhibition organised through the PMC, <a href="https://printmakerscouncil.com/" target="_blank">Print Makers Council</a>.<br />
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I used to be a member of the PMC when I was living in London. In fact I was on the committee for about 6 or 7 years. <br />
As an artists run organisation there were many exhibition proposals to be created and submitted to various galleries and institutions. We also had to sit through the 'selection process', for the various exhibitions that we presented. Sometimes we would also organise printmaking demonstrations as part of the 'accompanying program'. Occasionally we would have the opportunity to participate in international exhibitions the most unusual of these being in Belize. As far as I am aware this is the first PMC exhibition in Ireland, which was held at the <a href="http://farmleigh.ie/gallery/" target="_blank">Farmleigh Gallery Dublin</a>.<br />
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It was held in Dublin to celebrate centenary of the foundation of the Republic of Ireland, in 2016. Sinclairs blue print, "Moment", is quite a large piece measuring approximately 100 cm wide.<br />
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<br />Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-3022561519149005952019-04-22T01:18:00.000+01:002019-05-03T16:24:46.316+01:00Q is for Queen (as in her 'art stash'!!)Q is for Queen<br />
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This image which is one of the most wonderful things in this world belongs to QUEEN Elisabeth 2. It is housed in her "Royal Art Collection". But — why?.... I mean really why?……………….. <span style="color: #b45f06;">by virtue of the privilege of her birth.? </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz6Aa0lFnAl8f22LK8s-x39X74fo_SHBw7-iRP7B2kJUfTFJRmpb6229T7jTjARv8ZGpsIGKqZeWE0-_Do83OiXXL7SI97cJ3lrEzrI6fZhvTx2AhFokWzB5N6-1ZXYceWYWcqDLRYsuRM/s1600/LeonardoDa_Vinci_foetus_in_the_wombXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="438" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz6Aa0lFnAl8f22LK8s-x39X74fo_SHBw7-iRP7B2kJUfTFJRmpb6229T7jTjARv8ZGpsIGKqZeWE0-_Do83OiXXL7SI97cJ3lrEzrI6fZhvTx2AhFokWzB5N6-1ZXYceWYWcqDLRYsuRM/s320/LeonardoDa_Vinci_foetus_in_the_wombXX.jpg" width="233" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Aristocracy and royalty most certainly are not forms of government that I believe in. Democracy is given as the form of government within which UK citizens live, however it often feels as though we are instead, subject to an <span style="background-color: #f8f9fa; color: #222222;"><a href="https://en.wikipedia.org/wiki/Oligarchy" target="_blank">Oligarchy</a>. Getting back to this vast collection of artworks, c</span>onsider this:- these artworks have been accumulated over a period of many hundreds of years, and that this has been achieved largely through the royal families 'position of authority' i.e., by virtue of their 'privilege'. Ordinary people were only 'allowed' to vote (a voice) from the turn of the 20th century as until that time they were 'kept in their place'. </span><br />
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Therefore:<br />
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<i><span style="color: #999999;">I hereby decree that all artworks housed within "The Royal Collection" shall be the property of the general public. There is not to be any admission charge as the visitors are in effect the owners of the artworks. These works are there to be viewed and studied and treated with due care and respect. Items from the collection are not to be sold <u>other than if there is a danger of famine or an incidence that might be described as a severe emergency to the common wo/man.</u> Even then only the frivolous decorative artworks are the pieces that shall be sold, in order that the aforementioned citizens may eat cake.</span></i><br />
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<span style="font-size: x-small;">Leonardo da Vinci's sketches of a foetus in the womb, made between 1510 and 1513.</span><br />
<span style="font-size: x-small;">Credit: The Royal Collection (c) 2012, Her Majesty Queen Elizabeth II</span><br />
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I believe admission to go view the Royal Collection will probably cost around £15.00 and will need to be reserved in advance. However there is a lot to see, about just over 500,000 works in total, so you might take your house slippers along with you so that do not exit the building in an ambulance with your feet frazzled after the effort required to make a good initial viewing of the collection.<br />
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Of course you will have realised very quickly that I have treated Leo's wonderful drawing as a printmaking project in the sense that I have reduced it almost to a monochrome image. I have only done this so that one can really appreciate his sophisticated and fluid mark-making.<br />
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<a href="https://www.rct.uk/">https://www.rct.uk</a><br />
<br />Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-34398137384438642852019-04-21T18:30:00.001+01:002019-05-03T00:23:55.180+01:00P is for Pollaiuolo, an artist from the 14th Century<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMlaC__HU18nFMaYyVEmp0UgQCA3DlSnZ1lngP6AJqjCYa5u7Ic83MwxBbTpkCCxktbpevTmWQ13Pr1A_ozUfrwQ-lVnKtEu70EiMiqlamtQIuFN8_l4sK5z6SPRgeIxCh-ZitXohjkh7X/s1600/Antonio_del_PollaiuoloCOLOR_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1157" data-original-width="678" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMlaC__HU18nFMaYyVEmp0UgQCA3DlSnZ1lngP6AJqjCYa5u7Ic83MwxBbTpkCCxktbpevTmWQ13Pr1A_ozUfrwQ-lVnKtEu70EiMiqlamtQIuFN8_l4sK5z6SPRgeIxCh-ZitXohjkh7X/s320/Antonio_del_PollaiuoloCOLOR_XX.jpg" width="187" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">I still dont feel completely certain whether this renascence artwork '</span><i style="color: #1a1a1a; font-family: Arial, Helvetica, sans-serif;">Portrait of a young woman' </i><span style="background-color: #f6f7f9; color: #1a1a1a; font-family: "arial" , "helvetica" , sans-serif;">is actually attributable to Piero or to his brother Antonio, </span><span style="background-color: #f6f7f9; color: #1a1a1a; font-family: "arial" , "helvetica" , sans-serif;">del Pollaiuolo.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: #f6f7f9; color: #1a1a1a;">I looked the matter up on Wikipedia and went round in circles on there for a while but in the end do think that it was by Pierro......although I am kind of <i>keeping the door open</i> on this one.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha93AjXJjS51zi3J4czcz61xXg4Ajw67DkF6w0Coa0fXeY1NlFHIptK3d7KoUOSyE5IrCWoCWmJYXiAH0ncqV-pmXquYrjryZ0K6NvcOo5Tq37KjYGV6Tb2tP9I9EF833ZfPTGwEZT-YUj/s1600/Orig-EVE-sandpaper-collagraph-proofXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="791" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha93AjXJjS51zi3J4czcz61xXg4Ajw67DkF6w0Coa0fXeY1NlFHIptK3d7KoUOSyE5IrCWoCWmJYXiAH0ncqV-pmXquYrjryZ0K6NvcOo5Tq37KjYGV6Tb2tP9I9EF833ZfPTGwEZT-YUj/s320/Orig-EVE-sandpaper-collagraph-proofXX.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: #f6f7f9;"><span style="color: #1a1a1a;">Anyway I needed a female head in profile to amend my sandpaper collagraph print which I wasn't happy with <i>at all</i>. It had been made using a sandpaper background with a silhouette of what I call an "Eve" figure on it. which is a combination of a skeleton female torso and head-in-profile BUT it just didn't look right.<span style="font-size: x-small;"> </span></span></span></span><br />
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<span style="background-color: #f6f7f9; color: #1a1a1a; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">In this sandpaper plate the lighter figurative plate is cut out from a sheet of "drypoint paper" which I purchased ages ago from </span><a href="https://intaglioprintmaker.com/category/paper-drypoint-plate" style="font-family: arial, helvetica, sans-serif;" target="_blank">Intaglio printmakers suppliers in London, UK</a>. The product is designed for beginners in printmaking. I can also imagine it being used in classes for the general public to give them an experience of making an 'intaglio' print.<span style="background-color: #f6f7f9; color: #1a1a1a; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"> </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: #f6f7f9;"><span style="color: #1a1a1a; font-size: x-small;">Here is a <a href="https://printmakingart.blogspot.com/2012/07/why-do-people-stop-posting-on-their.html" target="_blank">LINK</a> to another print/plate where I first used some drypoint card onto a plate to get a particular 'ghostly' or rather 'soft-edged' effect.</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGxEqcA1FzUdtKHWsGjmFrV-AElSJoAdgrnozDDXEOa5cXbFvOjwVrCWe9HAyG8zltbYL32TA7Nwev0Fm00ErrHsb9I4-9quomosbj1hPaBKIe8UgjqN0r-knzob3Da7fwDtl6yWanPmyO/s1600/AineScannell_CatalanBirdXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="529" data-original-width="599" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGxEqcA1FzUdtKHWsGjmFrV-AElSJoAdgrnozDDXEOa5cXbFvOjwVrCWe9HAyG8zltbYL32TA7Nwev0Fm00ErrHsb9I4-9quomosbj1hPaBKIe8UgjqN0r-knzob3Da7fwDtl6yWanPmyO/s320/AineScannell_CatalanBirdXX.jpg" width="320" /></a></div>
I have used this 'motif' or whatever its called in other artworks. This yellow one, for example, was made using a technique called photopolymer 'spit bite' whereby, with a brayer, you coat the plate with liquid photopolymer and then cure it.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL0x6QPaOyJKppgmUVECfe_4rJp5BZy_uwFxgXMt56c63Ds4f0Mwx-LVfQRlz-sCK6e2TDn4Iw0aP3H5cfLJVcdHMlTdaTPZvGIDvlr7p_i9EVwpOX1Qu88v8-FAHILULyVzALsW62LVRP/s1600/Collagraph%2528Pollaiuolo%2529proof_2XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1048" data-original-width="1256" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL0x6QPaOyJKppgmUVECfe_4rJp5BZy_uwFxgXMt56c63Ds4f0Mwx-LVfQRlz-sCK6e2TDn4Iw0aP3H5cfLJVcdHMlTdaTPZvGIDvlr7p_i9EVwpOX1Qu88v8-FAHILULyVzALsW62LVRP/s320/Collagraph%2528Pollaiuolo%2529proof_2XX.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: #f6f7f9;"><span style="color: #1a1a1a;">Then once that is dry and 'set', using a brush </span></span></span><span style="background-color: #f6f7f9; color: #1a1a1a; font-family: "arial" , "helvetica" , sans-serif;">you</span><span style="background-color: #f6f7f9; color: #1a1a1a; font-family: "arial" , "helvetica" , sans-serif;"> add </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: #f6f7f9;"><span style="color: #1a1a1a;">some more </span></span></span><span style="background-color: #f6f7f9; color: #1a1a1a; font-family: "arial" , "helvetica" , sans-serif;">liquid photopolymer(and dilute to different strengths)</span><span style="background-color: #f6f7f9; color: #1a1a1a; font-family: "arial" , "helvetica" , sans-serif;">. This results in the 'forms'..... shapes that you see in the slightly darker tonal areas in the </span><span style="color: #1a1a1a; font-family: "arial" , "helvetica" , sans-serif;">lower central area of the YELLOW proof featured in this post. </span><br />
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<span style="color: #1a1a1a; font-family: "arial" , "helvetica" , sans-serif;">Having said all of this......I dont think it is a particularly good example of this technique. I can not remember where it was, that I came across the idea.</span><br />
<span style="color: #1a1a1a; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">Here is the final amended collagraph. I had to put dark blue behind the profile figure because of 'problems'. The bowl and 'drop' are made from plastic milk carton and a piece of tetrapak.</span></span><br />
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<br />Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-59030392785164289372019-04-20T15:32:00.002+01:002019-05-03T01:27:44.750+01:00O is for Omdahl Elisabeth (artist printmaker from Norway)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ1L26GZusNCMhF4BsSkVM32xUReNV-Ho6ZMQVdPh6BHl9H2Kwf2z_5OMeo0VJ0rMrpyUl4XYJMcsCQqzYyCcjGBfV6x37QeVc60zEKHNQbwUWAYoOWIxYGmiZm3v7TEZ3D09HJ9v83gcR/s1600/Vinyl+Print+2004.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="378" data-original-width="421" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ1L26GZusNCMhF4BsSkVM32xUReNV-Ho6ZMQVdPh6BHl9H2Kwf2z_5OMeo0VJ0rMrpyUl4XYJMcsCQqzYyCcjGBfV6x37QeVc60zEKHNQbwUWAYoOWIxYGmiZm3v7TEZ3D09HJ9v83gcR/s320/Vinyl+Print+2004.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Oh Elisabeth......she is an artist whose work I have long admired. I first encountered her art on a Face book group called "I Love Printmaking". That was in the early days of Face book and well just using the Internet really. </span><br />
<span style="color: #19191b;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #19191b; font-size: x-small;">I believe the first image I saw, was "Mor og Sonn" Mother and son, which to my mind is exquisite, tender and just perfect really. I believe it, (</span></span></span><span style="color: #19191b; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">this image on the left) was printed with water based inks from cut vinyl</span>.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYmhAjWlYntaqobqKfZAMAX5pqlbcLgMztxcn2PhAnWjo88PTKQ3Xc3bR2_gMoAMX7OZ59KvLWukCm8ORAbbycuRKQRvjNHt4stqrunpXgy4kTIQXvnIvsroHqJwjbLI1W6BbskJ_4zlpg/s1600/Elisabeth-Omdahl_Girl%252BRabbitXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="560" data-original-width="546" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYmhAjWlYntaqobqKfZAMAX5pqlbcLgMztxcn2PhAnWjo88PTKQ3Xc3bR2_gMoAMX7OZ59KvLWukCm8ORAbbycuRKQRvjNHt4stqrunpXgy4kTIQXvnIvsroHqJwjbLI1W6BbskJ_4zlpg/s320/Elisabeth-Omdahl_Girl%252BRabbitXX.jpg" width="312" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Elisabeth also has an account on Flickr. We were both members of a group called "Printmaking" on Flickr.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Left: "</span><span style="background-color: transparent;">Nølende-møte" </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Woodcut</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5ByRtpTgTVMmrgyD8KgeNRHPeNOhtH1ACd_3vU2s6p7eQQdz2ztG-bl93XWDePQg8E_Q6_wBvtjGxqyebIP12tP35fSXhZUMkjKGYejazf6p3JT4rEm3fDbwQtZsruqXUPBU7KGHCOaH_/s1600/Elisabeth_Omdahl_-_Mellom_elementene_II.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="685" data-original-width="1600" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5ByRtpTgTVMmrgyD8KgeNRHPeNOhtH1ACd_3vU2s6p7eQQdz2ztG-bl93XWDePQg8E_Q6_wBvtjGxqyebIP12tP35fSXhZUMkjKGYejazf6p3JT4rEm3fDbwQtZsruqXUPBU7KGHCOaH_/s320/Elisabeth_Omdahl_-_Mellom_elementene_II.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: -webkit-standard; text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">As for technique Elisabeth uses whatever method seems to work with reference to the nature of the work. </span></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: -webkit-standard; text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">During the time I was more in contact with her I can remember her using lithography, gum Arabic transfer, dry point, etching, woodcut and lino cut. I don't remember her doing any screen print but I bet she has done some.! </span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Oh and she uses pigment ink jet/ digital print sometimes.<span style="text-align: center;"> </span><span style="text-align: center;"> </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8W3pCQ6i-NFqx80Ge_R70ycpjs3JD4rGh3LixVRKS6VUskWv0BVKP-Z60gnmADA8yrcxRo2y9GW4e0kAXyC2sHkJ8vAJ9rmqfQiEgrGe9ivHesQHXPatILr_2DUEj43QZLIykwv52kOxs/s1600/Fig-wit-rabbit-in-pram-linocut-EOxx.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="1426" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8W3pCQ6i-NFqx80Ge_R70ycpjs3JD4rGh3LixVRKS6VUskWv0BVKP-Z60gnmADA8yrcxRo2y9GW4e0kAXyC2sHkJ8vAJ9rmqfQiEgrGe9ivHesQHXPatILr_2DUEj43QZLIykwv52kOxs/s320/Fig-wit-rabbit-in-pram-linocut-EOxx.jpg" width="316" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: center;">One thing I am quite certain of, and that is that, when Elisabeth wishes to focus on any drawing or ink wash drawing and so forth -she is quite capable of creating a larger print making based artwork which she might then interplay with other 'elements' from her rich vocabulary of visual forms and or metaphors. Over the years it became clear to me that she is very knowledgeable within the various printmaking techniques. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: center;">Left: lino cut</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsJVLeYZ5y4Gp8v0IlqpTunKo6PGU1Pnh3te1uO3u61_ZJzyyliG9Ekh9llXVEkLffwJ14qQmLRWeNHqGSqcEa97ZE63NYheROqF5N-c3rg6L7mYq-JeeD47Rarz16YjFPvu6uvkxct4FP/s1600/Lungs_so_delicate_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1264" data-original-width="1600" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsJVLeYZ5y4Gp8v0IlqpTunKo6PGU1Pnh3te1uO3u61_ZJzyyliG9Ekh9llXVEkLffwJ14qQmLRWeNHqGSqcEa97ZE63NYheROqF5N-c3rg6L7mYq-JeeD47Rarz16YjFPvu6uvkxct4FP/s320/Lungs_so_delicate_XX.jpg" width="320" /></a></div>
I love the 'delicacy' of this piece which is concerned with the concept of "breathing" reflecting the incredible complexity that is our mechanism for breathing. It may also have been used in the sense of our hidden modus operandi for purely surviving....almost as if we are doing so.... almost in secret.<br />
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<span style="font-size: x-small;">I am not completely certain but it maybe printed onto Japanese Washi paper.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM1BgZ0Ukz7L4Ia4iSTZTtnLtat2h7wnfXJIgRiwr1TMyQUuMcHQEIhcKDdXfTc0EPxL3LJfgkkSIc__I60VYScSFGzx1MGYomixuThnqE0qTLnSwg8ALAhQITSFCSxH0IP5t3e8qZGxcs/s1600/PoppyEtching_EO_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1066" data-original-width="997" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM1BgZ0Ukz7L4Ia4iSTZTtnLtat2h7wnfXJIgRiwr1TMyQUuMcHQEIhcKDdXfTc0EPxL3LJfgkkSIc__I60VYScSFGzx1MGYomixuThnqE0qTLnSwg8ALAhQITSFCSxH0IP5t3e8qZGxcs/s320/PoppyEtching_EO_XX.jpg" width="299" /></a></div>
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Left: "Poppy" etching on aluminium.<br />
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As with many other but <i>certainly not all artists </i>Elisabeth works in her studio using materials and methods or processes<i> </i>that are the 'least toxic', that they can be.<br />
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Copper sulphate etching, sometimes known as 'salt etch' is such a replacement or 'alternative' to the more harmful "nitric acid" its predecessor,<br />
which is still being used in some places. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEQH3wK5cJ37n6FWbABfbeh8naFY5nsaM8j7sFr0ytUuUZZzpR5dH5L2ha_fAsRqi5t3T0A-LrBs5mp2PhPbbFrENQNZzLLBqfn_xVs8Tc2ubZA-s_eOzDTU1YHGDbYeF5eJSKvdaFJO9Z/s1600/styrofoam-_XXEO.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="861" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEQH3wK5cJ37n6FWbABfbeh8naFY5nsaM8j7sFr0ytUuUZZzpR5dH5L2ha_fAsRqi5t3T0A-LrBs5mp2PhPbbFrENQNZzLLBqfn_xVs8Tc2ubZA-s_eOzDTU1YHGDbYeF5eJSKvdaFJO9Z/s320/styrofoam-_XXEO.jpg" width="269" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">What I love about the idiosyncratic nature of this image is that it is printed using Styrofoam. It just goes to show that basic craft materials can still be used to make 'sophisticated' outcomes.....it's about the nature of the drawn images from the hand of the artist. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">An image such as this (and the other black ink relief cut print) which is the 4th image down from the top, puts me in mind of people such as </span><span style="caret-color: rgb(34, 34, 34); color: #222222;"><a href="https://en.wikipedia.org/wiki/Hieronymus_Bosch" target="_blank">Hieronymus Bosch</a></span> and <span style="caret-color: rgb(34, 34, 34); color: #222222;"><a href="https://en.wikipedia.org/wiki/Pieter_Bruegel_the_Elder" target="_blank">Pieter Bruegel</a>.</span></span><br />
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In this photo which I think was taken at Elisabeth's studio, I get the feeling that what she was doing was thinking through the ways in which she wanted the artworks to be displayed in the exhibition(gallery) space.<br />
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I love how she has arranged the figure and "The Big Dipper" or is it "`The Little Dipper".......but what I think is particularly effective is how she has the picture 'carved' into four 'sections'. <br />
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The ark-ed shape of the two upper sections emphasising <i>directionally towards the night-sky,</i> an open field of symbols and metaphors where emotion and experience overlap in what Gaston Bachelard might have referred to as "The Poetics of Space" in his book of that same title. His book explored the meaning of spaces to the 'self' or individual, be they rooms, chambers or indeed wide-open-spaces such as the night sky.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6EZ_3cVlXEfnjV_fdOFldHquCwUY76LiKIUo72-7rKXIioMG5Qu4FQnbHAF6LbYBVUBtfJv9V4diC_QIGWWESWL9T0oUHXaqLCdSAVRTOAF7onRFbYQ2Z6iVq20Al4yRjnvqOKEu6VL7n/s1600/Elisabeth-Omdahl_rabbitDressonBlueXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="560" data-original-width="572" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6EZ_3cVlXEfnjV_fdOFldHquCwUY76LiKIUo72-7rKXIioMG5Qu4FQnbHAF6LbYBVUBtfJv9V4diC_QIGWWESWL9T0oUHXaqLCdSAVRTOAF7onRFbYQ2Z6iVq20Al4yRjnvqOKEu6VL7n/s320/Elisabeth-Omdahl_rabbitDressonBlueXX.jpg" width="320" /></a></div>
This dress and rabbit image which I believe is made using dry point and relief print. What an exquisite blue. As I referred to above, an image such as this might refer to a very subtle recollection of an experience where a child had the sense of a beautiful vibrant blue colour room where there was a delightful garment perhaps a dress or even a doll or a person. <br />
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The rabbit or hare might represent the idea of rebirth or there is also the possibility that it alludes to the sensuality an innocent child experiences although that would generally be on an unconscious level. <i> </i>Having said these things <i>..none of them may apply what so ever</i>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1KkZyUdihFdmvImUDbrDsDihDWI1RK7LnhXaD6Vf3-xh1Q_abGWqYUTFhHfotUI8YxYH-9RhsxXohMTqVCYwsZJdsuD4DNc-uu9LZNKHRcJCriObRCSwZGFfJRf-yi8fUoMqLX3R6CUZC/s1600/EO_flyktningetelt_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1KkZyUdihFdmvImUDbrDsDihDWI1RK7LnhXaD6Vf3-xh1Q_abGWqYUTFhHfotUI8YxYH-9RhsxXohMTqVCYwsZJdsuD4DNc-uu9LZNKHRcJCriObRCSwZGFfJRf-yi8fUoMqLX3R6CUZC/s320/EO_flyktningetelt_XX.jpg" width="240" /></a><br />
<span style="font-size: x-small;">I believe Elisabeth was working out some ideas to do with an installation for an exhibition when this photo was taken. Oh I remember now.... it was something to do with refugees.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhenI8zNTBxWlEGyZf0pQB0l-FSBl3Kv5NDhE5lmZ7QY0My2RUmMQlyLcH_wz7I33X4Ks_5hX6d11u7DeIbXbZFGt8UvW2sxI8WoNCCJyzBW9WjCh87W4atnUq3kHQ1NNsN3wcp-6EkSzno/s1600/VariousCircularWorks-from-2011_EOXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1222" data-original-width="1600" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhenI8zNTBxWlEGyZf0pQB0l-FSBl3Kv5NDhE5lmZ7QY0My2RUmMQlyLcH_wz7I33X4Ks_5hX6d11u7DeIbXbZFGt8UvW2sxI8WoNCCJyzBW9WjCh87W4atnUq3kHQ1NNsN3wcp-6EkSzno/s320/VariousCircularWorks-from-2011_EOXX.jpg" width="320" /></a></div>
I believe that this is photograph of 'parts' towards an installation that Elisabeth was working on. Such beautiful pieces representing lungs, words animals and plant forms. Oh and over time, I came to realise that this artist is one, who also has "green fingers" and loves her garden.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9wDD5_Swmy9ih-PyjosBftBLTaeT08FuguGHyeSMcD26KE88anth-x5-vicd2_NIV11c__qWnC-MvNWIFMADC-R0mrhg8THqt2Z7PwcEt-lG2vDT_owQfPzqUduXxVGyug2SuiFkttWx7/s1600/FramedWorks_ONE_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="858" data-original-width="1107" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9wDD5_Swmy9ih-PyjosBftBLTaeT08FuguGHyeSMcD26KE88anth-x5-vicd2_NIV11c__qWnC-MvNWIFMADC-R0mrhg8THqt2Z7PwcEt-lG2vDT_owQfPzqUduXxVGyug2SuiFkttWx7/s320/FramedWorks_ONE_XX.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Framed and ready to go to exhibition.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7of-9D4dvBB3EFYHBBjy-_KeEQQNnp0cvFLkX0YJWbQQxPvGuaJxUmGydTWPlX42spVxjz0-E1IdMip1WwcNSizy7tx7T5pJ-i23FSznE6DGqI9Sxygp3tWAHMz797c1geA3jAkeqNBlM/s1600/EO_InTouchExhibition_XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1093" data-original-width="1600" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7of-9D4dvBB3EFYHBBjy-_KeEQQNnp0cvFLkX0YJWbQQxPvGuaJxUmGydTWPlX42spVxjz0-E1IdMip1WwcNSizy7tx7T5pJ-i23FSznE6DGqI9Sxygp3tWAHMz797c1geA3jAkeqNBlM/s320/EO_InTouchExhibition_XX.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Works in an exhibition called "In Touch" in Norway. Elisabeth has also had work in various exhibitions both solo and group throughout Europe.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Finally - to have to narrow-down to about a dozen images from so many lovely pieces of artwork <i>has not been at all easy</i>. None the less - it has also been a pleasure to look through it and to think about what it is, about this artwork, that appeals to me and the ways in which it does that.......all of this via the many many documentary photographs of Elisabeth Omdahl's art process and studio practice with finished pieces, installations, artists books and so on........... <span style="color: #b45f06; font-size: x-small;">Thank you Elisabeth.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.flickr.com/photos/elisabethomdahl/" target="_blank">Elisabeths</a></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.flickr.com/photos/elisabethomdahl/" target="_blank"> account on the Flickr website</a>.</span><br />
where you can purchase Elisabeth's artwork:<br />
<a href="https://www.fineart.no/galleri/kunstner/elisabeth-omdahl?kunstner=1187&pager_start=0" target="_blank">FineartNorway</a></div>
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Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-12424252030441075622019-04-19T22:17:00.002+01:002019-05-04T14:37:14.877+01:00N is for Nua Gua<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipWfQMoQkGUOa0Sg048uICa49zCReolrg7djsBnFiU0l0ysBf6NA8vHMHt2eLq1ubr6_rUlwiWdplzr-qMpD9WZt2YnOiGZ8wNCn_VJyHjv95_9NuYzOJKOwZXvdjtAfC4FrbP_yHkZXbG/s1600/1_nuaguasdream2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="542" data-original-width="782" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipWfQMoQkGUOa0Sg048uICa49zCReolrg7djsBnFiU0l0ysBf6NA8vHMHt2eLq1ubr6_rUlwiWdplzr-qMpD9WZt2YnOiGZ8wNCn_VJyHjv95_9NuYzOJKOwZXvdjtAfC4FrbP_yHkZXbG/s320/1_nuaguasdream2.jpg" width="320" /></a></div>
"Nua Gua's Dream" <br />
<span style="color: #999999; font-size: x-small;">pigment inkjet print 33 x 48 cm, 14 x 17 inches</span><br />
<span style="font-size: xx-small;"><br /></span>"Nua Gua's Dream" was a print that I created for a Printmakers Council exhibition held at the <a href="https://www.uca.ac.uk/galleries/james-hockey-foyer-galleries/" target="_blank">James hockey gallery</a> in Farnham Surrey. I think the gallery was called something like the "Stanley.....something or other"at the time, but now it's called the James Hockey etc. The other thing is that although it was/is called a Foyer Gallery - it was/is in fact, quite spacious, most likely it was purpose built.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf87Ve8AMpQv1zt3m1M_yfWtPJa4-9GGi2-elw5Q1P-uZzs-yCNBx1v3xQrGmCoht8P1r5HYZPQZ6p7pjiBLBgpsj_qP7Rz3K7gvaxmhuSeqXw17akS1ACPwbzU4x4NYm8pMvlQwNU5tWf/s1600/Beatus_Facundus.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="430" data-original-width="800" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf87Ve8AMpQv1zt3m1M_yfWtPJa4-9GGi2-elw5Q1P-uZzs-yCNBx1v3xQrGmCoht8P1r5HYZPQZ6p7pjiBLBgpsj_qP7Rz3K7gvaxmhuSeqXw17akS1ACPwbzU4x4NYm8pMvlQwNU5tWf/s320/Beatus_Facundus.jpg" width="320" /></a></div>
<span style="font-size: x-small;"><a href="https://en.wikipedia.org/wiki/Puyi" target="_blank">Pu Yi</a> is the young boy in the image which was partially inspired by <a href="https://en.wikipedia.org/wiki/Illuminated_manuscript" target="_blank">medieval illuminations</a>, as in, the way they divide<a href="https://publicdomainreview.org/collections/the-beatus-of-facundus/" target="_blank"> the space horizontally</a> and by figures from<a href="https://en.wikipedia.org/wiki/N%C3%BCwa" target="_blank"> Chinese Mythology</a>, which also featured quite a number of <span style="font-size: xx-small;">Dragons. </span></span><br />
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<span style="font-size: xx-small;"><br /></span><span style="color: #b45f06; font-size: xx-small;">More information on <a href="https://en.wikipedia.org/wiki/Chinese_dragon" target="_blank">Dragons in Chinese mythology.</a></span>Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-59977948943667792002019-04-18T01:17:00.000+01:002019-04-18T01:17:06.569+01:00M is for my Mokulito ( Making Lithograph prints using wood as a matrix)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh-OrnkKjvLVSaA_RPmxC66QdtoNk8k4x7upmYXnOoPdbhwL-HUg4mgaqfSLhFIK7OdwhpIRhFDzdf6ypew8FoJyDjOy20kWiWYFu6rv6EzCb6Tz1mfIEkiNLj0pj4Z4f_sTLXmINnGfzr/s1600/mokulitoprint-Danielle-CreenaumeXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1044" data-original-width="766" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh-OrnkKjvLVSaA_RPmxC66QdtoNk8k4x7upmYXnOoPdbhwL-HUg4mgaqfSLhFIK7OdwhpIRhFDzdf6ypew8FoJyDjOy20kWiWYFu6rv6EzCb6Tz1mfIEkiNLj0pj4Z4f_sTLXmINnGfzr/s320/mokulitoprint-Danielle-CreenaumeXX.jpg" width="234" /></a></div>
In my research on this subject, Mokulito is often referred to as an “easy process”. Being as I'm a printmaker I have the feeling that this is <i>not true</i>…..but…..on hearing a ’summary’ of the steps involved. I can appreciate why the tag ‘easy’ is used.<br />
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Mokulito is a printmaking method that's been around since 1970’s. I won't go into the who and the when ie the history here. It's the process that particularly interests me.<br />
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<span style="color: #38761d;">NOTE: using oil based inks, it can be printed on either a relief or an etching press (seems to work better) </span><br />
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<span style="background-color: #ffe599;">NOTE: THIS IS A 1 day process from when the plate has the ‘gum Arabic coat’ is removed.</span><br />
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<u><b>Step by Step</b></u><br />
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PLATE/MATRIX.............<span style="color: #999999;">What kind of wood? </span><br />
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Plywood sheets, such as maple-veneer, birch or beech any kind of plywood seems to be OK except pine. I would use Birch plywood as I have several pieces of these in my studio.<br />
Apparently Birch gives a blurry effect, with visible grain, but then that might give an effect that I particularly like.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV2ht4s7DjPCYZ2jTleSU1u7gk3Fx0PqiA50aLI5GqBL1O-HNK4Mv49MqxNex-BCdfWbt6q9JQ7XoxGYiY-7r21M64mlijV-B5wzyqBtFQxFcRsF5HjgcKeNZiuknnHVOBjSXsJRo3TiNn/s1600/STRANDED+By+caroline+whitehead.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1001" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV2ht4s7DjPCYZ2jTleSU1u7gk3Fx0PqiA50aLI5GqBL1O-HNK4Mv49MqxNex-BCdfWbt6q9JQ7XoxGYiY-7r21M64mlijV-B5wzyqBtFQxFcRsF5HjgcKeNZiuknnHVOBjSXsJRo3TiNn/s320/STRANDED+By+caroline+whitehead.jpg" width="319" /></a></div>
<u><b>Prep the wooden plate</b></u> ; with fine grade sandpaper; sand it by moving your hand in circles gently and cover the entire surface. Wipe clean with damp cloth to get rid of dust etc.<br />
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The next step is apply a layer of milk, wipe clean and let it dry, sandpaper it again wipe and apply a layer of milk, and let it dry.<br />
Create an image onto wood using tusche in liquid and stick form and litho crayons and pencils I have heard that you can also use Sharpie oil based markers and Sakura ‘solid’ markers. It's OK to do a pale lightweight pencil drawing first and then go over it, with litho pencils sticks crayons etc Brush on the ink quickly to prevent little liquid pools of liquid forming.<br />
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Above: Caroline Whitehead (Mokulito)<br />
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When you are finished with the drawing, give a very fine dusting of talcum powder to the plate). Then sponge on the liquid gum Arabic or it can be applied with a wide bristled brush all over the surface of the plate.<br />
To process: allow the gum Arabic to dry for a few hours (2 hours absolute minimum) or preferably overnight.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitoZVpDL3lENOOz1gmNsP9BHobATKboCkaiyYsY4lE-CMDQ5zQpkgp72fqUGVu2Kee33N-kEt-Um3kOz32YtwUz52a04H0AfB8vxUedLjW0QnCeON1nDfjSJAESCg_W8xR1CechJ7p-7zU/s1600/daniellecreenaune+mokulito.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="898" data-original-width="898" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitoZVpDL3lENOOz1gmNsP9BHobATKboCkaiyYsY4lE-CMDQ5zQpkgp72fqUGVu2Kee33N-kEt-Um3kOz32YtwUz52a04H0AfB8vxUedLjW0QnCeON1nDfjSJAESCg_W8xR1CechJ7p-7zU/s320/daniellecreenaune+mokulito.jpg" width="320" /></a></div>
<span style="color: #f6b26b;">I</span><span style="color: #e69138;">n the meantime you can get all your paper cut for proofing. You could also get the ink prepared.</span><br />
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REMOVE the gum Arabic layer by gently going over the entire plate with water using a sponge.<br />
<u>INKING UP</u><br />
To print, you can use etching or litho ink. It's important that the ink be VERY loose.<br />
It is ‘advised’ that one should use a foam roller from a DIY home decorating store. <br />
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Above:Danielle Creenaume (Mokulito)</div>
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I plan on trying to use my speedball soft rubber rollers first, in the hopes that it will suffice.<br />
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<u>PRINTING UP</u></div>
Apparently the inked plate can be printed on either an etching or relief press using oil based relief ink. Sponge in between printing your proofs to keep the plate wet.<br />
<span style="color: #e69138;">I would start of course by just getting the hang of the process itself and thereafter make more plates with different images and then interplay/ interlayer them.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiygB7FwI93UWjVgE2UmQCnIOs2Elhx61OrwWxoDKOkRLBBWsXr1tO2hyphenhyphen4dduUumlodWBhPV20cgtkB9yfvGXlSAP0gQPdEzlQEUU_RjQo4hzDJFas6luhMhBVOaebIej-F_0UnMuhVsyeq/s1600/kathryn_desforges_tree_stump_lithograph.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiygB7FwI93UWjVgE2UmQCnIOs2Elhx61OrwWxoDKOkRLBBWsXr1tO2hyphenhyphen4dduUumlodWBhPV20cgtkB9yfvGXlSAP0gQPdEzlQEUU_RjQo4hzDJFas6luhMhBVOaebIej-F_0UnMuhVsyeq/s320/kathryn_desforges_tree_stump_lithograph.jpg" width="277" /></a></div>
<i style="color: #f6b26b;">I am not entirely sure but it seems you can also add watercolour paint to the wooden plate, after you have inked it and before taking a proof.(Having said this - one wouldn't be even entertaining this idea until one had 'nailed' the process step by step(typical me trying to run before I can walk!!</i><br />
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I have also read that you can, of course, carve onto the wooden plate as well.<br />
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<i style="color: #f6b26b;">One thing I am wondering about is whether it will be possible to do that gum Arabic photocopy(or later print) transfer process onto the wooden plate?</i><br />
<span style="font-size: x-small;">Kathryn Desforges "tree stump" mokulito</span><br />
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Actually I came across an article/tutorial on <a href="https://katedesforges.wordpress.com/2013/02/08/stone-lithography-experiments-with-transfer-paper/" target="_blank">Kate Desforges website</a> about making ‘gum Arabic litho transfer paper’ and that sound very interesting so I would have to try that as well once I got to grips with the basic process.<br />
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<span style="font-size: x-small;">You can see the grain of the wood in the background of prints, with every subsequent proof it will appear stronger. One needs to bear in mind that the tonal value will gradually disappear. Having said all of this Y you get will get a series of B.A.T. prints. </span><span style="font-size: x-small;">It seem that it is only possible to get about 8 to 10 prints with this process. </span><span style="font-size: x-small;">Given that I mainly don’t work in editions - that suits me fine.</span><br />
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Above: Elly Prestegård who works in a range of techniques including (as here) Mokulito.<br />
Go treat yourself and take a visit to <a href="http://ellyp.com/wp/" target="_blank">Elly's website</a>...you will enjoy it.<br />
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There is an Article on Danielle Creenaumes Mokulito studio exploits in the latest issue of the magazine<a href="https://www.pressingmattersmag.com/" target="_blank"> https://www.pressingmattersmag.com </a><br />
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<br />Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-38216019156854935452019-04-16T01:45:00.002+01:002019-04-16T02:00:06.505+01:00L is for Lodz International Print BiennialI submitted to and was selected for exhibition at the very first Lodz International Print Biennial.........that was in 2016. <br />
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Here are a few photos from the exhibition. Not exactly fantastic photos but I suppose they give an idea of how the exhibition was presented.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5YHYs51vHzwPQrX1-ShyphenhyphenrSH4nsJnSNBPi7sfK_iNw1lQ6ynibjBHKslqr1UUH5TQ3bMDFELSRXQ310eQBgLLbhdMpDN0h0P3b5hr2ouvQ7VRyxTuf0WuUoXcioyqkrvbhEwWskKX1vYKg/s1600/First-internat3-print-bien-lodz-2016.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5YHYs51vHzwPQrX1-ShyphenhyphenrSH4nsJnSNBPi7sfK_iNw1lQ6ynibjBHKslqr1UUH5TQ3bMDFELSRXQ310eQBgLLbhdMpDN0h0P3b5hr2ouvQ7VRyxTuf0WuUoXcioyqkrvbhEwWskKX1vYKg/s320/First-internat3-print-bien-lodz-2016.jpg" width="320" /></a></div>
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The piece I entered was a collagraph that I had started ages ago and had decided to completely rework...that made it particularly satisfying - that is my being selected for the exhibition.<br />
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Here is my artwork that was in the exhibition <br />
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Technique: intaglio collagraph... 'a la poupee' + pigment inkjet chine colle<br />
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The size is 60 x 85 cm. on Hahnemuhle<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">For some reason unbeknownst to me, I seem to have missed the call out for submissions for the 2nd Lodz International Print Biennial (2018) But hopefully next time around I will make another submission.</span><br />
<i style="color: #999999; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">Left - You can just see my print on the left /centre horizon line....</span>..</i><span style="color: #999999; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">...</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Left is the print which won first prize in 2018. I do think its lovely piece of work. Its by an artist from China, Can Li. artist printmaker China. Its 90 x 80 cm so large <span style="caret-color: rgba(0, 0, 0, 0.85098);">enough. Mixed technique - which is all very well but would be interesting to know what techniques were used. To me it has the feeling of being a painting.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-size: x-small;"><i>Note no website info. was found re Can Li.</i></span></span><br />
I did have my artwork returned to me along with a copy of the full colour catalogue book which was well designed and produced. It's what I would expect from Poland. I don't think I have ever had any 'hassle' with printmaking competitions based there.<br />
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LEFT: a relief print in black and blue which I really liked. Artist:Chen Jiadi "Samaya"Relief print from China.<br />
<span style="font-size: x-small;">There was a section towards the back of the catalogue called "Participants Beyond the Exhibition". this may be the artworks that got through to the selection round but that were not ultimately hung in the exhibition space. I certainly found some pieces in that section that I quite liked.</span><br />
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This last piece by Chinese artist Wenwen Zhang is called "The Land". Its 80 x 120 cm<br />
Technique: it just said "mud print"no kidding!<br />
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I was disappointed to find that the Lodz International Print Biennial website is "GONE".<br />
Perhaps they have backed it all up on to a computer somewhere and will reinstate soon. If I do come across it sometime soon I will of course insert the link here.<br />
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<span style="font-family: "helvetica"; font-size: 12px;">FINALLY here is a link to the online Catalog of the 2nd Lodz Print biennial (2018)</span><br />
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There appears to be two versions ? - they looked fairly similar to me - </div>
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<a href="http://online.fliphtml5.com/lyieq/bjdw/" style="font-family: helvetica; font-size: 12px;">http://online.fliphtml5.com/lyieq/bjdw/</a><br />
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Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-62497972803229214832019-04-16T00:39:00.000+01:002019-04-16T00:44:46.269+01:00K is for Klimek Elizabeth <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQNAKLiasdfbWUHrESpkfsflmHkSH9g5RyACsdH_JfETZPK2HdsoCtkVkkbKet3pjjEiQd_DP4ikn55U2xmnH6upFo-4ZGmUgS9kgvI3lEnioD2Vsnvxxweop498i8ow8aVs_-fTrczTe3/s1600/Solid_X_Blue.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="701" data-original-width="727" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQNAKLiasdfbWUHrESpkfsflmHkSH9g5RyACsdH_JfETZPK2HdsoCtkVkkbKet3pjjEiQd_DP4ikn55U2xmnH6upFo-4ZGmUgS9kgvI3lEnioD2Vsnvxxweop498i8ow8aVs_-fTrczTe3/s320/Solid_X_Blue.jpg" width="320" /></a></div>
Isn't this delightful?<br />
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It's a constructed form made from a lithograph and silkscreened original print by Elizabeth Klimek. (USA) Now that I think on it - this is probably my favourite artworks by Elizabeth.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYe3oqU69T-SRMgyanI5LwzLjY3qVxK-DY7HZAQpSyTmdUSWO8r31nWnXzBpCq7xv0C4XJF12XIfVucRTW29SyTuLLP39pw0I2kC2egY3IgeC0M-TBszZcfvOcyXF4P-_qNU4uGKEDBkv5/s1600/1235597467.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="370" data-original-width="400" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYe3oqU69T-SRMgyanI5LwzLjY3qVxK-DY7HZAQpSyTmdUSWO8r31nWnXzBpCq7xv0C4XJF12XIfVucRTW29SyTuLLP39pw0I2kC2egY3IgeC0M-TBszZcfvOcyXF4P-_qNU4uGKEDBkv5/s320/1235597467.png" width="320" /></a></div>
Mind you this one is also very appealing mmmhhh<br />
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I can not remember the exact time/date when I first came across Elizabeth Klimeks art BUT it may have been when the social network site on NING called INKTERACTION was alive and kicking, maybe was 2010 -12 ?? Unfortunately It didn't last that long BUT it was great being all connected as we were and the technical forum was absolutely excellent.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsEuOddLKsAJL_ZwUCpn-EsCKx4V2HTlrqA8jOzZBarbM55hkMqvJch7erHrVzBIUU2iUYEUFL5PHSwvr2bKU8C-Of4icILh2p8CIIkVDl7YHQ5Pr1QLQMqBRGLkAA7adUBxNFH7FIDxg1/s1600/tumblr_inline_nvpchlkQwl1tp4y6l_1280.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="997" data-original-width="1280" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsEuOddLKsAJL_ZwUCpn-EsCKx4V2HTlrqA8jOzZBarbM55hkMqvJch7erHrVzBIUU2iUYEUFL5PHSwvr2bKU8C-Of4icILh2p8CIIkVDl7YHQ5Pr1QLQMqBRGLkAA7adUBxNFH7FIDxg1/s320/tumblr_inline_nvpchlkQwl1tp4y6l_1280.jpg" width="320" /></a></div>
I have to admit that seeing another artist who liked to make 'constructions' from her prints made me feel as if I had found a 'sympathiser' of sorts. Here was somebody who also like to 'play' at what was possible, with the printmaking genre that was <b>outside of the frame.</b><br />
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Whereas my own printmaking practice is very much intaglio based Elizabeth uses lithography and silkscreen as her chosen techniques. These were processes that I found too laborious not having the physical stamina to tackle these.<br />
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Just one more HOUSE form. Check out <a href="http://elizabethklimek.com/" target="_blank">Elizabeths website</a> to see more of her work<br />
There was talk of me and Elizabeth doing some kind of collaborative project when we used to communicate on INKTERACTION....but of course that was back then......I'd still like to do it though.<br />
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Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-60686610261786646712019-04-15T02:41:00.000+01:002019-04-16T00:44:09.814+01:00J is for Jennifer Nieuwenhof <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghNeK7o4PqIXp_uOHB3KIvAR9vDz58KyPRJtxVnUw2DLrH5sXJV1YVr6aW7s9by4CwpjEjVX5gVyudIjPoJj-olVlVQai4UMN51x5fTdJl2CK4RaqYzVGVPpjQBe_0pRG5NJeclNKlqSzr/s1600/JN_Bones_WaxCollagrafPrintXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="930" data-original-width="907" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghNeK7o4PqIXp_uOHB3KIvAR9vDz58KyPRJtxVnUw2DLrH5sXJV1YVr6aW7s9by4CwpjEjVX5gVyudIjPoJj-olVlVQai4UMN51x5fTdJl2CK4RaqYzVGVPpjQBe_0pRG5NJeclNKlqSzr/s320/JN_Bones_WaxCollagrafPrintXX.jpg" width="312" /></a></div>
J is for Jennifer Nieuwenhof<br />
She is an artist based in Australia<br />
I have followed <a href="http://thehappyprintmaker.blogspot.com/" target="_blank">her blog </a>for years and have found her approach to printmaking so interesting and she seems to enjoy her time in the studio.<br />
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<span style="color: #666666;">Spend some time browsing through her blog.</span><br />
<span style="color: #666666;"><i>I would advise doing so over a few weeks - though </i>!!</span><br />
<a href="https://www.jgnieuwenhof.com/">https://www.jgnieuwenhof.com</a><br />
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<a href="https://www.instagram.com/jgnieuwenhof/">https://www.instagram.com/jgnieuwenhof/</a>Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-22795256050341159122019-04-15T02:35:00.001+01:002019-04-19T22:02:56.572+01:00I is for Imago MundiI suppose when people hear the phrase Imago Mundi, they tend like me, to associate it with a medieval vision in the form of a map of the world. <br />
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And as Medieval Illuminated manuscripts have always been one of my great loves, it would seem that a project whose title was Imago Mundi, would inevitably be something that would appeal to me. <br />
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The first <b>Imago Mundi</b> was written by Honorius de Autum in the 12th Century.<br />
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<span style="font-size: x-small;">The "Imago Mundi" was his most important work; it would best be described as encyclopaedia of sorts which featured world geography, history and cosmology among other things.</span><br />
<span style="font-size: x-small;">I suppose you'd call this person an intellectual, who lived in Germany or possibly England , , anyway he was someone who wrote prolifically on many many subjects. Oh and it is said that he was probably of Irish origin. </span><br />
<span style="font-size: x-small;">His writings were said to be lively and informal, making them approachable for those few citizens who </span><br />
<span style="font-size: x-small;">a). had the means to learn to read and write and b) could afford to somehow be able to access these works of literature. </span><span style="background-color: white;"><span style="color: #666666;"> <i>It wasn't as it is for us, ie we can access a lot of </i></span></span><i style="background-color: white;"><span style="color: #666666;">knowledge in the English language. </span></i><span style="font-size: x-small;">And if we can't understand an article in a foreign tongue - we can always use Google translate.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ8Ex0R502wtwZVgK8xriN3BBLupm7cnVZW1npJARZOyOuuOBsu8fEOrY6zEI9qM5WGC_S4Q13lDq5ZOAeRHrTIpVCbD7n_SLfOj8uYh3oXIUAvXnVZeh1QNVuiw8GuMSZR8e2QaqzmqDi/s1600/6_Imago-Mundi-piece-cropped03XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="852" data-original-width="796" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ8Ex0R502wtwZVgK8xriN3BBLupm7cnVZW1npJARZOyOuuOBsu8fEOrY6zEI9qM5WGC_S4Q13lDq5ZOAeRHrTIpVCbD7n_SLfOj8uYh3oXIUAvXnVZeh1QNVuiw8GuMSZR8e2QaqzmqDi/s320/6_Imago-Mundi-piece-cropped03XX.jpg" width="298" /></a></div>
Just imagine someone from the 1300's suddenly traveling through time and discovering the WWW email + all that's possible now. They would probably be in shock for a few days trying to comprehend all of the evolutionary stages that got us to where we are today. Nonetheless it <span style="color: #999999;">is said</span> that his writings were actually translated into some other languages. Bear in mind that at that time these books would have had to be handwritten copies.<br />
<i><span style="color: #666666;">One anecdote that I find very amusing is the mentions of his inclusion in this encyclopaedia of a scheme for the 'operation' of guardian angels. I'm not clear as to what this means. Perhaps it's to do with the procedures of the guardian angel 'club' so to speak. An outline of the process of obtaining a guardian angel. Maybe it was the etiquette as in how to address them and the do's and the 'don'ts' etc etc etc !!</span></i><br />
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By the way <a href="https://commons.wikimedia.org/wiki/Category:12th-century_maps_of_the_world" target="_blank">here is Wikipedia link to a selection of Medieval Maps of the World</a> if you would like to see more. Anyway it sometime in 2017 that I got an invitation from Layla Rose. It informed me of an international project being organised by the Benetton Foundation called Imago Mundi.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhblD8wwM7PPKt1lk4gtc8UxM7E8Ewqmk6R3kfXH9FZK_5nm1ziOkfdEpTIyaa7YdgbwoG1beLupHF3nWR6ztIQCMB4pS8KeXDOOGP5xW_p51cFF-jzwr87eLeWzIhw1J4UPm1qL54ADcev/s1600/2_1991_Priest_and_nunXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="729" data-original-width="1020" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhblD8wwM7PPKt1lk4gtc8UxM7E8Ewqmk6R3kfXH9FZK_5nm1ziOkfdEpTIyaa7YdgbwoG1beLupHF3nWR6ztIQCMB4pS8KeXDOOGP5xW_p51cFF-jzwr87eLeWzIhw1J4UPm1qL54ADcev/s320/2_1991_Priest_and_nunXX.jpg" width="320" /></a></div>
Apparently. this is how the whole thing got started according to Loui Benetton, business entrepreneur of the the well known “Colours of Benetton” branding in the 80’s and 90’s (much of it caused controversy).<br />
Anyway so of course someone like that invariably traveled internationally + as he was always interested in art and design - recreational time was dedicated to a variety of cultural pursuits. Funnily enough it was while he was in Ecuador, the same place where my very good friend Tatiana comes from. (photo at foot of post) THAT <span style="font-size: x-small;"><i>he got the inspiration for the project.</i></span><br />
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Yes it was while he was in Ecuador, in 2006 that he first got the idea - where from - wouldn't you know - AN ARTIST. By the way when I was studying advertising within the design studies of my Bachelors degree programme, it was clear that advertising appropriates/ borrows however you want to phrase it, a lot of ideas formats etc etc from Fine Art.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ihunRZKayue6I85xQKrdcNViNSnUhOVHNd_IfWWoNTf7debigJh4CFxuOfJL2W9Lva_6irD1tq0wxL8q2N35BHun_hAR568YJ3zkgYsGXt5QUEmBSD-adZuywaGdYMjX7ttnw0_rRYlB/s1600/Miguel_Betancourt2XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="974" data-original-width="992" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ihunRZKayue6I85xQKrdcNViNSnUhOVHNd_IfWWoNTf7debigJh4CFxuOfJL2W9Lva_6irD1tq0wxL8q2N35BHun_hAR568YJ3zkgYsGXt5QUEmBSD-adZuywaGdYMjX7ttnw0_rRYlB/s320/Miguel_Betancourt2XX.jpg" width="320" /></a></div>
<span style="font-size: x-small;">In Ecuador -Loui met artist </span><a href="https://en.wikipedia.org/wiki/Miguel_Betancourt" target="_blank">Miguel Betancourt</a><span style="font-size: x-small;"> </span><span style="font-size: x-small;">whose ‘business card’ came in the form of a miniature painting a 10 x 12 cm.(one of his paintings is shown here). <span style="color: orange;">LIGHTBULB!</span></span><br />
<span style="font-size: x-small;">In 2017 that I got an invitation from Layla Rose, who got the job of coordinating the artists for the 'collection' of artists for Scotland.</span><br />
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<span style="color: #666666;">MY PROCESS AND APPROACH</span><br />
I started by getting together a load of mount board and lightly drawing fairly sparse iconographic symbolic like images onto these in pencil.<br />
My idea being that I would then score/scorch into these with a pyrography tool that I have hardly ever used. So I did about 5 or 6 of these - you can see some of the images in the photo taken in my worktop there. However ultimately I was not happy with any of them. My intention was that after the 'burning' I would then add a layer of beeswax. I had previously done this a long time ago and I had even put <a href="https://printmakingart.blogspot.com/2007/05/burning-figure-under-wax.html?m=0" target="_blank">a little post on here about it.</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ1wGN72jJZHbr0K6ZptOhyphenhyphenZeUEBPGr0LNcs6VE0AVHxxlAiQDl7CX57ft8SeVXQLpQELvnBcCM2-4sp0cJTuxrYG7EiYEFRdXEsvRxUCW1W4EC1w61SDs07QBybvBsVZ_QNB4bO1VD3AA/s1600/4_Imago-Mundi-wip-desktop06XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="536" data-original-width="917" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ1wGN72jJZHbr0K6ZptOhyphenhyphenZeUEBPGr0LNcs6VE0AVHxxlAiQDl7CX57ft8SeVXQLpQELvnBcCM2-4sp0cJTuxrYG7EiYEFRdXEsvRxUCW1W4EC1w61SDs07QBybvBsVZ_QNB4bO1VD3AA/s320/4_Imago-Mundi-wip-desktop06XX.jpg" width="320" /></a></div>
It took me a bit of an effort to make the 'frame' to mount it on, as I am not good at that type of thing ...but it looked fairly OK in the end. As far as I remember you had to go into Glasgow to collect the little canvas that was being made available to participating artists. I suppose looking back on it - I should have insisted they post it to me being as my 'disability' prevented me from being able to collect it.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK5DCNYFEltSeeqIfKV7hDTHN7kUCt_m4QuZri21sBeE6enDnEcPpMERzptKUc7KvA6Uf1v20trpd6t-ORdtiwRpAMzeJA432EsPbrJyQHdp3CloRUSNTbCsH7nyREJWs8kkOzbwXKvaZq/s1600/3_Beatus_Facundus.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="438" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK5DCNYFEltSeeqIfKV7hDTHN7kUCt_m4QuZri21sBeE6enDnEcPpMERzptKUc7KvA6Uf1v20trpd6t-ORdtiwRpAMzeJA432EsPbrJyQHdp3CloRUSNTbCsH7nyREJWs8kkOzbwXKvaZq/s320/3_Beatus_Facundus.jpg" width="233" /></a></div>
<span style="font-size: x-small;">The piece of my work that's now part of this Imago Mundi I titled "Beatus". which refers to a series of manuscripts called The Beatus Manuscripts. The Beatus of Facundus made in 1047, (image on left is from Facundus) See more about this + an article + further images from an excellent website called <a href="https://publicdomainreview.org/collections/the-beatus-of-facundus/" target="_blank">Public Domain Review</a>. </span><span style="font-size: x-small;">Its a website </span><i><span style="color: #999999;">that you could get lost in</span></i><span style="font-size: x-small;">, as there is so much fantastic </span><i><span style="color: #666666;">food for visual artists</span></i><span style="font-size: x-small;"> well for anyone really.</span><br />
<span style="font-size: x-small;">In the 8th century, in a monastery in the mountains of northern Spain, 700 years after the Book of Revelation was written, a monk named Beatus initiated a project of books writings art etc to illustrate a collection of writings he had compiled about this most vivid and apocalyptic of the New Testament books. </span><span style="font-size: x-small;">I absolutely love this stuff.......</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUurGk6IhG-lT9TCUdJ_QO6Vi5o2a8fEl_LAY4-WbOaEovlJ41a_K0iMkHRsf5DekLHb-9TuEPqSQKeqwldPiB2HWbk1rkG_Yk5Ab466fxwuzd0enlsfHzoYnMc3F4LYWu8b2M7W3_5fGX/s1600/5_BEAR_pyrograph-ImagoMundiXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="624" data-original-width="728" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUurGk6IhG-lT9TCUdJ_QO6Vi5o2a8fEl_LAY4-WbOaEovlJ41a_K0iMkHRsf5DekLHb-9TuEPqSQKeqwldPiB2HWbk1rkG_Yk5Ab466fxwuzd0enlsfHzoYnMc3F4LYWu8b2M7W3_5fGX/s320/5_BEAR_pyrograph-ImagoMundiXX.jpg" width="320" /></a></div>
The image here shows just one of the pieces I did that I wasn't happy with. There were about another five. You can see I added pencil pastel pencil and even some scalpel-ing. <br />
This is something that sometimes happens as all visual fine artists will know. Its all very well having the ideas and that can be the most fun part of the project......however when it comes to realising those ideas into something physical ...........well then that's another matter all together. As it was such a very small size - I felt somewhat inhibited, by it I have to admit.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJqADzRmlU7QZ2ITKKlGn84ix85jyV_L4S8m8SDDEIoShUQ-q5-rOqumlnw4wVzwSNuBAzCw3v4H_iqn8iQPgInfsFiGEGQ1CgblP0aTLPaWHO6vdfQKxogoMuCjEFeaklFaWna8BigIul/s1600/6_Imago-Mundi-piece-cropped03XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="852" data-original-width="796" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJqADzRmlU7QZ2ITKKlGn84ix85jyV_L4S8m8SDDEIoShUQ-q5-rOqumlnw4wVzwSNuBAzCw3v4H_iqn8iQPgInfsFiGEGQ1CgblP0aTLPaWHO6vdfQKxogoMuCjEFeaklFaWna8BigIul/s320/6_Imago-Mundi-piece-cropped03XX.jpg" width="298" /></a></div>
<span style="font-size: x-small;">My accompany text for my piece: </span><span style="font-size: x-small;"><i>Inspired by medieval illuminated manuscripts, this artwork represents the complexities of human life and culture. Using Russian text from a child’s story book along with images of petrified infant skeletons, it alludes to the atrocities of war and the innocence of children. </i></span><i><span style="font-size: x-small;">It celebrates the acquisition of knowledge and our search for beauty.</span></i><br />
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<span style="font-size: x-small;">Title: "Beatus"pigment inkjet on paper with wax over layer, size: 12 x 10 cm</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4qsVrbAwrmRcrOa858sfQ1dzASROQjCn_Jzn3WvGueIjPGBeitalhzzOuXAuPD0P_w4g-tcTxH4osB7WSbLnRCBnbDXN99bq-_wFnqUDgqnoc0GDrtxTSbI73AAp1w4qmiwFQ9eVdKw_f/s1600/7_BookCover-1024x979.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1024" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4qsVrbAwrmRcrOa858sfQ1dzASROQjCn_Jzn3WvGueIjPGBeitalhzzOuXAuPD0P_w4g-tcTxH4osB7WSbLnRCBnbDXN99bq-_wFnqUDgqnoc0GDrtxTSbI73AAp1w4qmiwFQ9eVdKw_f/s320/7_BookCover-1024x979.jpg" width="320" /></a></div>
Here is what the SCOTLAND catalogue book looks like. I still don't actually have my copy of it. They were sent to DCA in Dundee for us artists to go along to, to collect. I managed to ask the print studio staff to agree to go collect them and requested that they hold on to mine until I next visited there to do some printmaking.<br />
The awful thing is that I probably have been along there since but typical me, I completely forgot to ask for it. I mean its April 2019 now.........a lot of time has elapsed so I just hope that it is <span style="color: #999999;">still there in the office</span>.<br />
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I do like the look of the item and the title; Myth/Reality. I dont know whether it has an ISBN......I will find that out eventually hopefully<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC7B9mZMjy5OMSq0Q92MMEr4OG6bZRhnKaLOOMt_wWbG5NpHFfeSGTdfNJ3lFDhkwUx8eAU9IiYmKRoCASvfR6muJIsxqpkrWDY-2fmQiyH7w7Nch2DI-Po99I6LMnDaqHVZO_z4aSTO9q/s1600/8_ImagoMundi-frontal-shot07XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="806" data-original-width="806" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC7B9mZMjy5OMSq0Q92MMEr4OG6bZRhnKaLOOMt_wWbG5NpHFfeSGTdfNJ3lFDhkwUx8eAU9IiYmKRoCASvfR6muJIsxqpkrWDY-2fmQiyH7w7Nch2DI-Po99I6LMnDaqHVZO_z4aSTO9q/s320/8_ImagoMundi-frontal-shot07XX.jpg" width="320" /></a></div>
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Of course I was able to go along to the Imago Mundi Art Project website to look through the Scotland catalogue that way. Here are some pieces that I selected from the Scotland Catalogue<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTp8yQ69U_zPk8IePZHxv_pnTd3aNKqBRxHvZmL3meglzqQrngf-O7J9RSJmgCjsFXviHzdTOzmghzr5LQimsFSVPqJtxCelnGKqgWs64tHdD3HzwQwjh5jHzqgSj91psE8qBJYxso1VWG/s1600/9_melina_doumy_front_scoziaXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="992" data-original-width="869" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTp8yQ69U_zPk8IePZHxv_pnTd3aNKqBRxHvZmL3meglzqQrngf-O7J9RSJmgCjsFXviHzdTOzmghzr5LQimsFSVPqJtxCelnGKqgWs64tHdD3HzwQwjh5jHzqgSj91psE8qBJYxso1VWG/s320/9_melina_doumy_front_scoziaXX.jpg" width="280" /></a></div>
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<a href="https://www.melinadoumy.com/" target="_blank">Melina Doumy</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzKQXe4vomFbdS0186Zx75gYvzOK5lm2BX2llC0lJ-4zsRQZ_n8HnZVhja2EwG_brkiOjF8Th7hC7vMChROxJMoHxL-aZBFoAYWjBW_FNcTGIF8aGyANS1eu1cZ8XB1eaThe2lwQXBINkF/s1600/fiona-watsonXXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="685" data-original-width="805" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzKQXe4vomFbdS0186Zx75gYvzOK5lm2BX2llC0lJ-4zsRQZ_n8HnZVhja2EwG_brkiOjF8Th7hC7vMChROxJMoHxL-aZBFoAYWjBW_FNcTGIF8aGyANS1eu1cZ8XB1eaThe2lwQXBINkF/s320/fiona-watsonXXX.jpg" width="320" /></a></div>
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<a href="http://www.fionawatson.co.uk/#" target="_blank">Fiona Watson</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia8QTvpZruaAECM9i6qB3UJ94r2v2QqgjPHaGI6YEmplYby7dajCjUVcMpKIdqGWKcvEWbETNzIlkA007KTC-1djLtbJhUscNoBjohxA09myhqVg0MZ9ZcDtPIsjP-4F8dx824me3NM6FO/s1600/11_pete_thomas_front_scoziaXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="992" data-original-width="834" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia8QTvpZruaAECM9i6qB3UJ94r2v2QqgjPHaGI6YEmplYby7dajCjUVcMpKIdqGWKcvEWbETNzIlkA007KTC-1djLtbJhUscNoBjohxA09myhqVg0MZ9ZcDtPIsjP-4F8dx824me3NM6FO/s320/11_pete_thomas_front_scoziaXX.jpg" width="269" /></a></div>
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<a href="https://www.tompigeon.com/" target="_blank">Pete Thomas</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgywIPneGutuzn-6dg_c_uyMFBT5QUWCnl7GjrSXpVDVk7DCPiNmCvCbkgiZKLu5T-B-zY8jiQ-QP2xUUqtRd9glXZx4YmiFpbj0OtOO9NiqUuysiko6coCylS7z-2-1jKN5Q3l9y_Y57kV/s1600/Cordula-Marks-Venters.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1007" data-original-width="860" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgywIPneGutuzn-6dg_c_uyMFBT5QUWCnl7GjrSXpVDVk7DCPiNmCvCbkgiZKLu5T-B-zY8jiQ-QP2xUUqtRd9glXZx4YmiFpbj0OtOO9NiqUuysiko6coCylS7z-2-1jKN5Q3l9y_Y57kV/s320/Cordula-Marks-Venters.jpg" width="273" /></a></div>
<a href="http://cordulamarksventers.com/" target="_blank">Cordula Marks-Venters</a><br />
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Finally <a href="http://www.imagomundiart.com/" target="_blank">HERE IS A LINK TO THE IMAGO MUNDI PROJECT WEBSITE.</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHusHpkzhxQLYT4xnPIBJsMFkPNURoTeO_EPfoOvNGCo7sgNFmy029ykPvzO0sxg8h7ojYKc_cDJuwX7IIHTlFgwJuMS2o-z1dbqULA-blCeDnuwIyZSDKLvLvrBftw92L96vUW8mI9sLs/s1600/Tatiana-with-Hugo%2528Carol%252BRobertsDog%2529XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHusHpkzhxQLYT4xnPIBJsMFkPNURoTeO_EPfoOvNGCo7sgNFmy029ykPvzO0sxg8h7ojYKc_cDJuwX7IIHTlFgwJuMS2o-z1dbqULA-blCeDnuwIyZSDKLvLvrBftw92L96vUW8mI9sLs/s320/Tatiana-with-Hugo%2528Carol%252BRobertsDog%2529XX.jpg" width="320" /></a></div>
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Tatiana with "Hugo" lovely dog friend who belonged to Carol Robertson and Robert Adam (authors of the book "Intaglio Printmaking")<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3zqvLjWYPGQaP2PzrLj9LPEeiCMm9lhOIQChsiAqUhG22CnVU2ntgDHuphcIXJ5r3HTJewTny3gFmKCSl5vxLGmWlmGhWzn28Kqken7Fh43VV9iIxSirktYcz3xklIukoTl86LIZDZWYu/s1600/Bookcover_Carol%252BRobert.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="505" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3zqvLjWYPGQaP2PzrLj9LPEeiCMm9lhOIQChsiAqUhG22CnVU2ntgDHuphcIXJ5r3HTJewTny3gFmKCSl5vxLGmWlmGhWzn28Kqken7Fh43VV9iIxSirktYcz3xklIukoTl86LIZDZWYu/s320/Bookcover_Carol%252BRobert.jpg" width="280" /></a></div>
<br />Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-90757106424165201342019-04-13T15:11:00.000+01:002019-04-13T15:11:21.180+01:00H is for HappyWhy because a gallery <a href="https://printspacedundee.co.uk/" target="_blank">"Print Space Dundee"</a> at <span style="background-color: white;"><span style="font-family: Poppins, sans-serif; font-size: 14px;">3 High Street </span></span><span style="background-color: white;"><span style="font-family: Poppins, sans-serif; font-size: 14px;">Newport on Tay</span> who </span>represents my work, phoned to tell me, that one of my artworks had just been sold.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrItWrvbXzADF_a03R-9HPNLI4hCaeaQa0kOXKhUFEKF1UsXdUVvJAp2xEej58GGysYhiJQRXDfHkYBazL9zXYLAAPKITETMAWAwMtuVbDvQKQ89FWI6TFG781OvoyHKON7H3fFCFTa6Y6/s1600/11remake+of+Lost-in-Space_x.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="723" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrItWrvbXzADF_a03R-9HPNLI4hCaeaQa0kOXKhUFEKF1UsXdUVvJAp2xEej58GGysYhiJQRXDfHkYBazL9zXYLAAPKITETMAWAwMtuVbDvQKQ89FWI6TFG781OvoyHKON7H3fFCFTa6Y6/s320/11remake+of+Lost-in-Space_x.jpg" width="320" /></a></div>
Funnily enough it was this one - which I wrote about in the previous post. An American guy came in and purchased it as a gift for his brother.<br />
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<span style="font-size: x-small;">"Lost In Space". collagraph + chine colle.</span><br />
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I wonder if the guy has a family children because the "space" that is referred to isn't necessarily another planet.....far more likely its planet Earth. The word Earth developed from a wide variety of Middle English forms, which derived from an Old English noun most often spelled eorðe.<br />
(from Wikipedia)Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-35757128908395486602019-04-13T01:33:00.000+01:002019-04-13T01:34:14.769+01:00G is for Gel (as in "Carborundum Gel")Yes I know I might have written about Gelatin printmaking (as in hectograph) BUT in this instance I am talking about <a href="https://www.amazon.co.uk/Akua-Carborundum-Platemaking-Gel-236ml/dp/B074TJ3QLH" target="_blank">Carborundum <b>Gel</b></a>. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8-mFZfGSiGEApE_uF24SUwTozJfLxtjzyS-_vr0SVHi8yz0rKv5WYtkBkaUqpk8iggIv1sjq4zcPjrU2qpH-PXSkgLon4x8KAQadXCFjJjN8uf7txw0hyGKRGxRbf3ROCdSTGb1gXijps/s1600/BLO159+Akua+Carborundum+500.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8-mFZfGSiGEApE_uF24SUwTozJfLxtjzyS-_vr0SVHi8yz0rKv5WYtkBkaUqpk8iggIv1sjq4zcPjrU2qpH-PXSkgLon4x8KAQadXCFjJjN8uf7txw0hyGKRGxRbf3ROCdSTGb1gXijps/s320/BLO159+Akua+Carborundum+500.jpg" width="320" /></a></div>
I wanted to keep the posts straightforward and focussed..although this is NEVER easy for me . Because I have a tendency of doing things thoroughly. I mean , just as an example - when I write Christmas cards - I can never just write to someone "<i>to Mary and Bill"</i>...........<i>"wishing you a Happy Christmas and New Year"</i>. I just cant do that. I suppose because if I received a card like that myself - I'd be disappointed. I'd be thinking huh um oh I wish they - could have written just a little note about how they are getting on...just some few words. It's too impersonal.<br />
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<i><span style="color: #999999;">BY THE WAY - SEE HOW EASILY I GO OFF ON A TANGENT</span></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3AbQITWkBFf91TUTrV8vjg3Vc7nAS_BAtHzUZutxdUme5JsS6QT4N1BA5VkQsTaff-3bXVOexztziHCrquO9bEU6-yW07mA6ign7qu-DEkL_tte2jIz9-TQs6HwWtaivPxyZCkSWkcNsh/s1600/1_orig-solar-plate%252Bpastel-ground-added%252BProofXX.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><b>Carborundum Gel</b></a><br />
Of course most printmakers will be aware of carborundum powder and the ways in which it can be used in the context of printmaking. In the past before I got as disabled as I am nowadays. I would have thought to myself <i> "Oh well I can't afford to splash out that amount of money etc etc"........"I will just make some myself". </i><br />
And indeed I might have tried. As a matter of fact, now that I think about it...... I think I did try one time after seeing a video on You Tube by a couple of American printmakers<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDb-HKNgHAEZ-XmvebGJvL4LXJpwIBPtvv7TNvo6fjSt4ejEVNIC9YBwj9irmM3warhGG4bGY122V55VMKkCkV6YS_W1QaOvUuI_GInYv-6OPqTL7UzveA5xeKdsz9rBD9kDlIQMz1YQBw/s1600/1_orig-solar-plate%252Bpastel-ground-added%252BProofXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="622" data-original-width="933" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDb-HKNgHAEZ-XmvebGJvL4LXJpwIBPtvv7TNvo6fjSt4ejEVNIC9YBwj9irmM3warhGG4bGY122V55VMKkCkV6YS_W1QaOvUuI_GInYv-6OPqTL7UzveA5xeKdsz9rBD9kDlIQMz1YQBw/s320/1_orig-solar-plate%252Bpastel-ground-added%252BProofXX.jpg" width="320" /></a></div>
<span style="color: #666666; font-size: x-small; text-align: justify;">Left: solar plate with 'pastel ground' added to the middle</span><br />
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<span style="color: #666666;"><span style="font-size: x-small;">horizontal area of the plate, inked and proofed.</span></span></div>
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Alison Dell and Rob Swainston, who were on a residency at Frans Masereel, Belgium. They were applying self-made carborundum paste, through a photo exposed silkscreen. It's on the <a href="https://fransmasereelcentrum.be/en/print-lab/intaglio/fake-etching-fetching-rob-swainston-alison-dell/" target="_blank">Frans Masereel Centre in Belgium.</a> 's website.</div>
I went up to <a href="https://www.dca.org.uk/visit/print-studio" target="_blank">DCA print Studio</a> to try it out and because I had never undertaken making a screen print at <u>their</u> print workshop I had to get some extra 1-1 help. The thing was that after going through the steps image made using watercolour -then scanned to Photoshop. Converted to black +white. Manipulated image to pleasingly contrast tonally. Converted to a bitmap file. Printed dithered pixelated 'positive' transparency.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYN9qcfWPpaw_6wu3LsZHun9-QhQEST_udtGPjP54qb8k3b2lfQv0YOqkBhbt6HmEpzH2OmaA-eJvLzYxEZR5O9nUSc0Oimbh6_OXAxzID9aUpxOVuxjnEddzAMbPaKXdcaMJRulqYM4WZ/s1600/2lost_in_space+FIRSTone.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="735" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYN9qcfWPpaw_6wu3LsZHun9-QhQEST_udtGPjP54qb8k3b2lfQv0YOqkBhbt6HmEpzH2OmaA-eJvLzYxEZR5O9nUSc0Oimbh6_OXAxzID9aUpxOVuxjnEddzAMbPaKXdcaMJRulqYM4WZ/s320/2lost_in_space+FIRSTone.jpg" width="320" /></a></div>
This inkjet acetate was then exposed onto a photo emulsion silkscreen. Once I had that done. I then squeegeed the carborundum paste I had made through the 'openings' in the mesh. I printed it onto a piece of perspex that I had sanded and degreased. as well as onto a prepped piece of mount board.<br />
Anyway after all that I didn't think that my image looked very promising. For some reason ?? I never got around to actually proofing it. I will do that sometime soon and will add it to this post.<br />
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<span style="color: #666666; font-size: x-small;">Above: same solar collagraph proof with mulberry paper and </span><span style="color: #666666; font-size: x-small;">inkjet chine colle of trace monotype scans.</span><br />
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<b>OK Getting back to Carborundum Gel</b><br />
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The image above I titled "Lost in Space" I made only 3 of these prints. A couple of years later I needed to make some more of these prints. So I went ahead one afternoon and printed some proofs from the solar collagraph plate. Then a couple of days later went to the next stage and then began to realise that something wasn't quite right....then OMG...BOY was I horrified when I realised that I had inadvertently vertically chopped off about a quarter of the plate. Obviously this had been for a particular project ( I will eventually remember what it was ?!)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwJ0_hVPX4-3l1EA2guDKTQ52947PNTqczkYj8FqzQEtXGbUgcCCVe5zfs9jzgfwsumfXiU0JoyHX2yXInl_CxeGyKwWWsJX7NaBTEWaHix9Kq1kPezgeP20oWwSoQYP6cae9iIw0P5t4X/s1600/3OriginalLost-inSpace-30x35cm-sheetXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="546" data-original-width="699" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwJ0_hVPX4-3l1EA2guDKTQ52947PNTqczkYj8FqzQEtXGbUgcCCVe5zfs9jzgfwsumfXiU0JoyHX2yXInl_CxeGyKwWWsJX7NaBTEWaHix9Kq1kPezgeP20oWwSoQYP6cae9iIw0P5t4X/s320/3OriginalLost-inSpace-30x35cm-sheetXX.jpg" width="320" /></a></div>
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Oh Lord what to do now? So I decided to make three 'replacements'. Two of which would be collagraph and the other a watercolour monotype.<br />
<span style="font-size: x-small;">Left: The same original "Lost in Space" print made using the original solar collagraph plate. It is actually inked in a more pleasing way and of course the mulberry paper is pale blue.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDbbVqIJ6AAVDqezqCKElWR8zgltAWftKBoKcrvE8tnSDO5khwvOOehRWSwGXHPBc-Fwh73k1MTpFlEi4zGZFUfI8_lFz9-R8gG_0rrlTzlh-nYgiZElsScwmVEpmOdLpH3n1EmHTAazS2/s1600/4LG_Akua+Carborundum+Gel.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="432" data-original-width="576" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDbbVqIJ6AAVDqezqCKElWR8zgltAWftKBoKcrvE8tnSDO5khwvOOehRWSwGXHPBc-Fwh73k1MTpFlEi4zGZFUfI8_lFz9-R8gG_0rrlTzlh-nYgiZElsScwmVEpmOdLpH3n1EmHTAazS2/s320/4LG_Akua+Carborundum+Gel.jpg" width="320" /></a></div>
Isn't this lovely / I think so - it's a photo from <a href="https://www.lindagermain.com/blog/" target="_blank">Linda Germains blog</a> <span style="font-size: x-small;">the original Gelatin Printmaking Queen!</span>. It was taken during Linda's time spent on a printmaking course with Akua inks inventor/ printmaker <a href="https://susanrostow.com/" target="_blank">Susan Rostow</a> exploring the possibilities of Carborundum Gel. This looks like a screen-print-carborundum-gel pull.<br />
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<span style="color: #666666; font-size: x-small;">Above: Linda Germain carborundum matrix</span><br />
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It occurs to me that one might place a long 'dollop' of Carborundum gel along the top of a stencil (handmade being my preference) and attempt to 'drag' (squeegee) the Carborundum gel down the stencil or across the stencil. It might 'transfer' successfully, negating the need for a screen print. Obviously the thinner the stencil material(eg acetate) the better, as it would be more likely to be successful. And then it would most likely be OK for smaller prints.<br />
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One might also consider using a stencil dabber brush. That might even be preferable where there were areas of the image that one wanted to be darker than others. After all the AKUA Carborundum gels 'function' is to hold ink on the plate or matrix.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibOcMicZeSUaBMl0fuT_KlV_MKw1vPSRnum2i3fTcVVXdv_jz9tgCRDq7Ep8xloQj1OlCY2YpI6q35MpjM0BwdFNWhu55lYEEG_io955f6-AN5wyFaQQSmaw7BfRNOmjp-jARGfzTIAAF-/s1600/5lost-in-space-watcol-plate%252BproofXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="622" data-original-width="933" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibOcMicZeSUaBMl0fuT_KlV_MKw1vPSRnum2i3fTcVVXdv_jz9tgCRDq7Ep8xloQj1OlCY2YpI6q35MpjM0BwdFNWhu55lYEEG_io955f6-AN5wyFaQQSmaw7BfRNOmjp-jARGfzTIAAF-/s320/5lost-in-space-watcol-plate%252BproofXX.jpg" width="320" /></a></div>
Getting back to the "Lost in Space" saga, as I said I thought that I would try out making a watercolour background. So I prepped the white plastic plate by degreasing it and then lightly rubbing it in circular motions with fine metal wire wool. <br />
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<span style="color: #666666; font-size: x-small;">Left: Watercolour Monotype</span><br />
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Then after this was wiped I got down to rubbing in a small amount of liquid Gum Arabic. Enough to feel like one has rubbed all over the surface of the plate.<br />
I used to apply the Gum Arabic with a brush and then let it dry overnight - <i><span style="color: #999999;">that is</span></i> until someone pointed out that one only needed to 'buff' the plate in preparation for making watercolour monotypes. <span style="color: #999999;"><i>"Eggcellent Mister Byrnes" said I. </i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf4JN7JVLKTBo7DuiaVY4Ip93KNv1jfuljZMGuhuuPx_CuvFNfuGPgUUV7Ry5UuHMrrzKrJpSUN6QlaDZ7GxT3VYhg9rfH5EPId_PNLxq8SC0_tpZdJZzvKDjKSpJMSI43vlJGhxrop3lT/s1600/6LostInSpace_watercolor-proofXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="555" data-original-width="857" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf4JN7JVLKTBo7DuiaVY4Ip93KNv1jfuljZMGuhuuPx_CuvFNfuGPgUUV7Ry5UuHMrrzKrJpSUN6QlaDZ7GxT3VYhg9rfH5EPId_PNLxq8SC0_tpZdJZzvKDjKSpJMSI43vlJGhxrop3lT/s320/6LostInSpace_watercolor-proofXX.jpg" width="320" /></a></div>
<span style="color: #999999; font-size: x-small;">Left: here you can see a better view of the watercolour monotype.</span> <br />
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As mentioned above I did make two other plates. I only have a photo of one of them though - probably because this one was far superior to the other.<br />
The other thing I noticed was making this collagraph on metal (aluminium in this case) seemed to somehow make it better. <i>Although of course it could be that I am merely taking a flight of fancy or merely deluding myself.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0xraERz52a8Rd6SvOE8D4duGfKOCTD1VQRbpe-qOUnUVyHtxeq28Ff3DZPqylD2NXPcmHs1neWUqtVmhYoUYjtMvNYh0Lwo3Ewy584JL78A-ldm2s-7cTruKrmf0qAAabm3z-IVy9NpWw/s1600/7CarbGel+article+by-Trish+Meyer.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="622" data-original-width="1000" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0xraERz52a8Rd6SvOE8D4duGfKOCTD1VQRbpe-qOUnUVyHtxeq28Ff3DZPqylD2NXPcmHs1neWUqtVmhYoUYjtMvNYh0Lwo3Ewy584JL78A-ldm2s-7cTruKrmf0qAAabm3z-IVy9NpWw/s320/7CarbGel+article+by-Trish+Meyer.jpg" width="320" /></a></div>
<span style="background-color: white; color: #999999; font-size: x-small;">Left: Photo screen print carborundum </span><span style="background-color: white;"><a href="http://trishmeyer.com/carborundum-photo-collagraph-workshop/" target="_blank">Trish Meyer </a></span> <span style="font-size: x-small;">like myself also originates from Ireland and is now resident in the USA.Trish is truly adventurous with a curious nature and much knowledge of materials and techniques. Even though this is a studio WIP - it intrigues + makes me want to see how it was used in subsequent images.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-KbpbpC6Y5wHBIHPNzCvqqmBMmgw_f8nErvAHbvN9p9R8Y7Ryxhl4kNttWzsV-Ujjj7QYOxdhuxJzeKLoDjWbiTE2U-w8w14c9FgyEd4xaqAly0rGXOnw6u815TRPV9_QwnKLR4MNxhqd/s1600/8metal-plate-collagraph-LostInSpaceXX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="622" data-original-width="933" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-KbpbpC6Y5wHBIHPNzCvqqmBMmgw_f8nErvAHbvN9p9R8Y7Ryxhl4kNttWzsV-Ujjj7QYOxdhuxJzeKLoDjWbiTE2U-w8w14c9FgyEd4xaqAly0rGXOnw6u815TRPV9_QwnKLR4MNxhqd/s320/8metal-plate-collagraph-LostInSpaceXX.jpg" width="320" /></a></div>
Here you can see the various materials I have applied to the metal plate. I applied Lascaux pastel ground, Lascaux acrylic hard ground, Akua Carborundum gel, dry pointed areas. I have also allowed areas to dry and then again added more layers.<br />
<span style="color: #666666; font-size: x-small;">Left: metal plate with various materials applied including carborundum gel</span><br />
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I think this was probably the first collagraph plate where I got it perfect from the first proof. As printmakers I am sure plenty of you will only be too well aware of what I am talking about.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1CVR0rTja235WOff9dDVcYwpqe8dEJgD4AMEKJW0E-UNUhEnX50gJn3vt5e2tWhQTZ80WQ4Ozglie7hhegIJCiaZkj7PjqnkdMaygcf_A534q6VomJWNnVUsL5khgD4xGhP-H-Ioi8VXZ/s1600/9Lost-in-Space-Metal-plate-proof-on-bedX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="569" data-original-width="845" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1CVR0rTja235WOff9dDVcYwpqe8dEJgD4AMEKJW0E-UNUhEnX50gJn3vt5e2tWhQTZ80WQ4Ozglie7hhegIJCiaZkj7PjqnkdMaygcf_A534q6VomJWNnVUsL5khgD4xGhP-H-Ioi8VXZ/s320/9Lost-in-Space-Metal-plate-proof-on-bedX.jpg" width="320" /></a></div>
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<span style="color: #666666; font-size: x-small;">Left : the proof from the metal plate above</span><br />
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Now you can see the 'background' before I go about applying the mulberry paper and the trace monotype images of the children, that have been scanned and output onto Japanese paper as pigment inkjet print.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIBFQfkGN3CTN1rHhrHbpAOKkSIXKGj1eMiXjtVohrWbzNAq8ZMm9FQGDcq2Kly8g6USS7IVvZEyY9ST4vwF7iFxsvy1T_XRUbG8yZABd_ns2UdczgUGfxsU4UeY7HkIHXb1VEo6sMSVGk/s1600/10Transition+by+Elly+Prestega%25CC%258Ard.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1060" data-original-width="1500" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIBFQfkGN3CTN1rHhrHbpAOKkSIXKGj1eMiXjtVohrWbzNAq8ZMm9FQGDcq2Kly8g6USS7IVvZEyY9ST4vwF7iFxsvy1T_XRUbG8yZABd_ns2UdczgUGfxsU4UeY7HkIHXb1VEo6sMSVGk/s320/10Transition+by+Elly+Prestega%25CC%258Ard.jpg" width="320" /></a></div>
INTERLUDE<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Ah here is an original print by the talented and generous Norwegian artist printmaker <a href="http://ellyp.com/wp/5568-2/" target="_blank">Elly <span style="color: #0e0e0e;">Prestegård</span></a></span><br />
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<i>Actually if you visit Elly's website she has some great information writing photos etc on doing collagraphs.</i><br />
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Oh and another thing she has done which I have not yet had to chance to do is "MokuLitho" in other words lithography on wood - which makes me very much want to have a go at it myself. I think I should drop a line to Annis Fitzhugh who is the boss of the Printmaking Studio at DCA to suggest that we would love for them to engage someone to teach a course in Mokulitho.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje-4cMM4pgx4gFCGVdomY4dQqPWTDtfWe8_jqiPBva4lhLGrA-pJ5JX3n31ZX0NHKFrJPCi8wlGs1ooyMshR7d9owvSWyrZ24BE2-3RvFvNDiret7S283zU64oQw4n_9Ycmp8mI7v4_-8n/s1600/11remake+of+Lost-in-Space_x.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="723" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje-4cMM4pgx4gFCGVdomY4dQqPWTDtfWe8_jqiPBva4lhLGrA-pJ5JX3n31ZX0NHKFrJPCi8wlGs1ooyMshR7d9owvSWyrZ24BE2-3RvFvNDiret7S283zU64oQw4n_9Ycmp8mI7v4_-8n/s320/11remake+of+Lost-in-Space_x.jpg" width="320" /></a></div>
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AT LAST....finally the finished print in its second version improved very much I think.<br />
It is on a 30 x 35 cm sheet of Fabriano or Somerset etching paper.<br />
I cant remember when it was that I started doing that 'coming out of the image frame' thing. But it certainly felt 'right' on this occasion.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqwebhPNNa8fxKKtvqASX3D4qmTy0v29x7N9UnI7GQErIDPTqf9fQOrKGNpMyemdFaebArcjQSkmDDwVCeWDyrWYLRhctIP1DjDxg5mO6_JZkKoM678khe_xZI4smpa65P7d19JP-3GN5l/s1600/12talleen_hacikyan_stencil%2528CarboGel%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="648" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqwebhPNNa8fxKKtvqASX3D4qmTy0v29x7N9UnI7GQErIDPTqf9fQOrKGNpMyemdFaebArcjQSkmDDwVCeWDyrWYLRhctIP1DjDxg5mO6_JZkKoM678khe_xZI4smpa65P7d19JP-3GN5l/s320/12talleen_hacikyan_stencil%2528CarboGel%2529.jpg" width="320" /></a></div>
<span style="background-color: white; font-size: x-small;">Left is an image from <a href="https://talleenart.wordpress.com/2017/12/04/carborundum-gel-printing-and-mezzotype/" target="_blank">Taleen <span style="font-family: "arial"; text-align: center;">Hacikyan's</span> website</a></span><br />
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<span style="font-size: x-small;">It's a very good overview of her experience of trying out the carborundum gel - it certainly is inspiring and I love how she has played around with it.</span></div>
Much of it in black on white which helps with getting a sense of the tonal possibilities.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdLH2D1CqTCdTT9GqhzGNY-4R6u8fn8GB-SgJjBoPsD3eIo4RMvicrnOI5VULjr3ripaIwguOSJ5XVLIqlN-41IW3z_iZTKoAcTpSxuSjzATVq0QLmVU6swpRxtNqstOPkVWjw1OIPlb82/s1600/+13Curious+Printmaker.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="724" data-original-width="1024" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdLH2D1CqTCdTT9GqhzGNY-4R6u8fn8GB-SgJjBoPsD3eIo4RMvicrnOI5VULjr3ripaIwguOSJ5XVLIqlN-41IW3z_iZTKoAcTpSxuSjzATVq0QLmVU6swpRxtNqstOPkVWjw1OIPlb82/s320/+13Curious+Printmaker.jpg" width="320" /></a></div>
<span style="font-size: x-small;">Left Collagraph by Emily Harvey who has a great blog called <a href="https://www.thecuriousprintmaker.co.uk/" target="_blank">The Curious Printmaker</a></span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Further References</span><br />
<b style="font-family: Arial; font-size: 12px;">Handprinted UK (art and printmaking supplies)</b><br />
<div style="font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal;">
<span style="font-kerning: none;"><a href="https://www.handprinted.co.uk/ramblings/making-a-carborundum-gel-plate" target="_blank">Good beginner tutorial using a screen print process orientated approach</a></span></div>
<div style="font-family: Arial; font-size: 12px; font-stretch: normal; line-height: normal;">
<b>AKUA</b></div>
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<a href="http://akuainks.tumblr.com/post/169471523013/mimicking-lithos-with-akua-carborundum-gel" target="_blank">Gives description of the 2 methods that S.R. demonstrates in the YouTube videos.</a></div>
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<a href="https://www.youtube.com/watch?v=xqiORTdckC0&feature=youtu.be" target="_blank">Excellent Video of Susan Rostow demo Mezzotint Effect</a><span style="font-kerning: none;"></span></div>
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<br />Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-69938617640631251412019-04-11T21:23:00.001+01:002019-04-11T21:39:48.232+01:00F. is for Foxes of Glasgow<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">F. </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"> </span><br />
The Foxes of Glasgow was an anthology of visual art and poetry that I heard about towards the end of 2015. I can not remember where I heard of it....but it appealed to me and I thought that I would create some artwork and make a submission to Peter Wright who initiated and coordinated the project. I think he's an English lit student /researcher academic etc etc.<br />
<br />
Anyway he was very pleasant to communicate with once I got to the stage of sending him my images. The other artists whose works were selected for inclusion in the book were Anna Holloway, <a href="https://deborahwickhamart.weebly.com/" target="_blank">Deborah Wickham</a>, Michelle Siebert, Lauren McCreadie, and <a href="https://viviennekellyart.wordpress.com/" target="_blank">Vivienne Kelly</a>. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkr6_16DesfzkdRO1UX9C83icew77BvHI1MeRQOrgiFIhQO0pMm2GGCbeRMVc6TMCkCwaXbjHVqm-ehjLbYwKYTQQEQf_gOS5WtsBdftBMt8RNQENUBMbhLN5BJjM3sfKCTPAlbFqG1AH3/s1600/Little_fox_girl+few+years+ago.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmORMe4s2kXn-gaxsxkL4lPRJYxZfZHEgIHn50L5C3y_QaCi15fxB1yygUUcg9hiaMDCHjU36-QU-EQseW26crnwdAv3kpuXpusXUEqfzJBS_VyJUkKfLDp0-5U6eKStOEvxTYB21q3g4D/s1600/Proofs-of-Drypoints-Foxes1x.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkr6_16DesfzkdRO1UX9C83icew77BvHI1MeRQOrgiFIhQO0pMm2GGCbeRMVc6TMCkCwaXbjHVqm-ehjLbYwKYTQQEQf_gOS5WtsBdftBMt8RNQENUBMbhLN5BJjM3sfKCTPAlbFqG1AH3/s1600/Little_fox_girl+few+years+ago.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1169" data-original-width="868" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkr6_16DesfzkdRO1UX9C83icew77BvHI1MeRQOrgiFIhQO0pMm2GGCbeRMVc6TMCkCwaXbjHVqm-ehjLbYwKYTQQEQf_gOS5WtsBdftBMt8RNQENUBMbhLN5BJjM3sfKCTPAlbFqG1AH3/s320/Little_fox_girl+few+years+ago.jpg" width="237" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkr6_16DesfzkdRO1UX9C83icew77BvHI1MeRQOrgiFIhQO0pMm2GGCbeRMVc6TMCkCwaXbjHVqm-ehjLbYwKYTQQEQf_gOS5WtsBdftBMt8RNQENUBMbhLN5BJjM3sfKCTPAlbFqG1AH3/s1600/Little_fox_girl+few+years+ago.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a></div>
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I started with making images of foxes - although I had made a little image of a hybrid female fox years ago - I never made a plate of it but always liked it. I imagined it wouldn't be the kind of thing that the anthology would be looking for so made these two plates......<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlXT7FB7g2YxJ8nkf8il_FGQW59vJ9hpQJJOCzIbs5o5LbeZ4dpoG5pLvTVIBDYiaCEnkyaVIB_JR9k9NGNUrjfjyRT7Mi7Z5bPW8uS65p1Ql87_XnWGRqw9c-ERsm31I9PtbIEKTm7i5z/s1600/Proofs-of-Drypoints-Foxes1x.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="625" data-original-width="649" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlXT7FB7g2YxJ8nkf8il_FGQW59vJ9hpQJJOCzIbs5o5LbeZ4dpoG5pLvTVIBDYiaCEnkyaVIB_JR9k9NGNUrjfjyRT7Mi7Z5bPW8uS65p1Ql87_XnWGRqw9c-ERsm31I9PtbIEKTm7i5z/s320/Proofs-of-Drypoints-Foxes1x.jpg" width="320" /></a></div>
I liked the one with the two foxes together one behind the other and there was also the baby fox which I also dry pointed.<br />
I had this vague notion in my mind of foxes foraging about in peoples rubbish in urban Glasgow and had the idea of a tetrapak that the foxes 'lived inside of' surrounded by a sort of abstract of nature.<br />
So I made a plate from a tetrapak which to be honest I wasn't too pleased with and then wondered whether this was actually a naff idea .......<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDygSzd256jCmhv4wxurfslg1r3o8MbAQ711Wox2q_7W2NQhZnnxBH6NxZ6lCyQ42RphsYTHgMkM8NCVfuTdFFPd0GnTDUCD6gLjgBdLQtI-rKfG9w93dyCgd84tXlCAxY8zaaYUhDpdtI/s1600/composition-two-vee-one.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="608" data-original-width="721" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDygSzd256jCmhv4wxurfslg1r3o8MbAQ711Wox2q_7W2NQhZnnxBH6NxZ6lCyQ42RphsYTHgMkM8NCVfuTdFFPd0GnTDUCD6gLjgBdLQtI-rKfG9w93dyCgd84tXlCAxY8zaaYUhDpdtI/s320/composition-two-vee-one.jpg" width="320" /></a></div>
Left is a Photoshop mock-up, which on the one hand, is wonderful in the sense of being able to get an idea of what the finished image might look like BUT it can also lead to one ending up feeling <i>disappointed </i>with what one puts together.<br />
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Of course I was also running out of time (research and development taking a lot more time than I had anticipated) - <span style="font-size: x-small;"><i>how many times had I nagged my former students about the importance of allowing sufficient time for this !</i></span>!?<br />
Of course those are the source photos(foxes) with my tetrapak 'house' proof ...so........<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCMS4j5EKNuuSDI2Ov0c2nr1FLMutx4jze95xfKDga9-SVRPi0DovkQsYnyNFw7elUgSqnx9tsYdyqzezM5VCCV0118sNv2I-DydJ2UMicJCOLuUL78JZskl6LRvDPD_qg7LffdqbuPDBN/s1600/Composition-poss-onex.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="397" data-original-width="567" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCMS4j5EKNuuSDI2Ov0c2nr1FLMutx4jze95xfKDga9-SVRPi0DovkQsYnyNFw7elUgSqnx9tsYdyqzezM5VCCV0118sNv2I-DydJ2UMicJCOLuUL78JZskl6LRvDPD_qg7LffdqbuPDBN/s320/Composition-poss-onex.jpg" width="320" /></a></div>
LEFT: another mock-up using another fox image that I really liked, over layered onto a monoprint I had created ages ago. This kind of image representing more the "sense" of the fox leaping and rushing through the night domain , so to speak.<br />
<i>You know what ?...I am thinking now 11 April 2019 - that I really like this image and I might yet go back and create it.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDcfGxWN1rwLi-Q_cG9ufD60PJuKWwj90kXX18K2KNUjBLkG6iIxy_ZdDRpRkCIVr5qpili_g5_nAz2duyp4ZCgxQFgefg205x3QU3APOpv2LF178EfrruTI4u7lr_oaCAfirId-psBAhW/s1600/blue-wash-doorway_fox-tryou.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="556" data-original-width="469" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDcfGxWN1rwLi-Q_cG9ufD60PJuKWwj90kXX18K2KNUjBLkG6iIxy_ZdDRpRkCIVr5qpili_g5_nAz2duyp4ZCgxQFgefg205x3QU3APOpv2LF178EfrruTI4u7lr_oaCAfirId-psBAhW/s320/blue-wash-doorway_fox-tryou.jpg" width="269" /></a></div>
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I had this proof of like a wash on paper in blue ink and thought of combining that with the tetrapak house and the foxes pair, in the foreground ..........<br />
I quite like this one as well.<br />
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In the end I did use the running leaping fox but in a more subtle gentle way as a creature of the sleeping dreaming world. See the final image. One of the most annoying things about Foxes of Glasgow (the book) is that<br />
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......................... <i><span style="color: #999999;"> I CANT FIND IT !!!!! </span></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPp7zqI1Oddo_qEO1AX1Uzv62InqaOn4QhIUgOkry4-Lmz0AfYlCZggZi_d4FGyihCC6JbBzlU_Be8CdQ_0xBSTtA4vrvfQV985TjFEUQOX0xXGGdLoyDMCpVjeTkQCjVQRJ4uwL4l2kFR/s1600/Dream-Fox-Near-Finalxx.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="737" data-original-width="573" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPp7zqI1Oddo_qEO1AX1Uzv62InqaOn4QhIUgOkry4-Lmz0AfYlCZggZi_d4FGyihCC6JbBzlU_Be8CdQ_0xBSTtA4vrvfQV985TjFEUQOX0xXGGdLoyDMCpVjeTkQCjVQRJ4uwL4l2kFR/s320/Dream-Fox-Near-Finalxx.jpg" width="248" /></a></div>
Oh well maybe it has joined forces with my book "Art +<br />
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Book" by Dorothy Simpson Krause who I exhibited with in<br />
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Sweden. THAT BOOK was my most recently purchased<br />
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book...and boo hoo......I just can not find it I have looked all<br />
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over the place.<br />
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Of course none of this would have happened if I had not been compelled to move my books 'out of' my studio, because of the roof leak that occurred about a year ago.<br />
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Some lovely art catalogues of mine became irreparably<br />
damaged .......... but I suppose these things happen. My base is in a garage at the side of the house so it isn't the same as being in the main part of the house.<br />
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Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-44620640349583778632019-04-11T00:55:00.002+01:002019-04-11T01:14:04.517+01:00E is for 'Environmount" which is a kind of matt board that I found out about whilst browsing the web for something else<span style="font-size: x-large;">E</span><br />
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<span style="font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjofgFkzssNS1Zj9c02_t-qk2QaBYfTAtCqxYT2SVtqoUdShwsSmYOO9pyW6xjHGmNKd9QR8K2L4m-11usp_phYxo2i2Vm8DVh0u-o6W-Os6O_G47Z52gHeios5-8JEWrjdg57jATNkiq6c/s1600/LostinSpace%2528blue%252930x35cm_x.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="486" data-original-width="651" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjofgFkzssNS1Zj9c02_t-qk2QaBYfTAtCqxYT2SVtqoUdShwsSmYOO9pyW6xjHGmNKd9QR8K2L4m-11usp_phYxo2i2Vm8DVh0u-o6W-Os6O_G47Z52gHeios5-8JEWrjdg57jATNkiq6c/s320/LostinSpace%2528blue%252930x35cm_x.jpg" width="320" /></a></span></div>
is for <a href="https://www.lawrence.co.uk/product/environmount-850gsm-a1" target="_blank">"Environmount" </a>which is a kind of matt board that I found out about whilst browsing the web for something else. There was/is a link though to someone by the name of <a href="http://www.juliehoyle.com/" target="_blank">" Julie Hoyle"</a> I knew back in 1999 at the<a href="https://www.arts.ac.uk/colleges/camberwell-college-of-arts/student-life-at-camberwell/facilities" target="_blank"> London College of Printing</a> at the Elephant and Castle.<br />
<span style="font-size: x-small;">LEFT: Lost in Space, solar plate+ collagraph + chine colle</span><br />
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At that time you could enrol to do an "Experimental Printmaking" course which took place weekly on a Thursday or Friday. I can't remember which day or even if it was both days. The cost was very reasonable and as a new masters graduate(2nd Masters degree) printmaker - it was in essence, a means of having access to a print workshop. Having said that there were mostly great people there and the staff were supportive and it was fun on the whole.<br />
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<i><span style="color: #666666; font-size: x-small;">Note I don't think there is such a liberal amount of opportunities there nowadays as was the case back then. The City Lit and Morley Collage used to be good for part time courses. I just mention this in case anyone, London based , reading this, is interested.</span></i><br />
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I came across the information concerning the use of this material on someones website. She had been on a 3 day course which I thought she had undertaken at <a href="https://www.ochreprintstudio.co.uk/" target="_blank">Ochre Print Studio</a> in the south of England. Julie Hoyle is the person who founded this print workshop - way to go Julie - well done you !!! and yeah .... and You know what?..... it really does seem like a GOOD print workshop with plenty of interesting courses.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEBo67t0v6LebM_3IMFhiol8iCPFJywUJJIOD022v5f75uYOUDaSn7mQyOsptulYhIFfMDtHIC-sDlUuChoXIxHz5gXPSdFYxJ3ZEgqCz6pVtK-ijIDrYU46jGXt7ET-P1V0wktFNbeGwb/s1600/hedbordcrown-pastelground-added-100-.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="454" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEBo67t0v6LebM_3IMFhiol8iCPFJywUJJIOD022v5f75uYOUDaSn7mQyOsptulYhIFfMDtHIC-sDlUuChoXIxHz5gXPSdFYxJ3ZEgqCz6pVtK-ijIDrYU46jGXt7ET-P1V0wktFNbeGwb/s320/hedbordcrown-pastelground-added-100-.jpg" width="206" /></a></div>
<i><span style="color: #999999;">I have to admit that I later realised that she had done the course at <a href="http://www.leicesterprintworkshop.com/" target="_blank">Leicester Print Workshop</a>.</span></i><br />
<i><span style="color: #999999;">I get the impression from previous website visits......and from being selected a few times to be in their miniprint travelling exhibitions....that this is a really good print workshop.</span></i><br />
If I wasn't disabled/decrepit like I am ...I'd consider hopping on a train and going down to do a course. To me spending money on doing courses in your 'specialist' area - is one of the best things you can do for yourself.<br />
I will definitely do posts on here once I get my order delivered and try it out. What I also like about environment is that as well as being able to get excellent results in intaglio - you can also get lovely tonal effects when rolling it as a relief print. <br />
LEFT :proof of a print that is a work in progress. approx A3 in size. collagraph and drypoint<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC6hu-PB5fEs-vCkPw2pVmP89PB-mDXw5U-VQcg5HovLaCwlvRFkG2ZduoQn4MmHqtCuCINfuX4lMDNT-E6nWNsFwebLtKrSrS_sSVrvN7BzOtEL1w9-3kHWVymHXFDK0EYQ06r4GFjLRL/s1600/Individual+Spirit.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="483" data-original-width="500" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC6hu-PB5fEs-vCkPw2pVmP89PB-mDXw5U-VQcg5HovLaCwlvRFkG2ZduoQn4MmHqtCuCINfuX4lMDNT-E6nWNsFwebLtKrSrS_sSVrvN7BzOtEL1w9-3kHWVymHXFDK0EYQ06r4GFjLRL/s320/Individual+Spirit.jpg" width="320" /></a></div>
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WATCH THIS SPACE<br />
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The special thing with this mount board is that it has several layers and enables a lot of scope with tone and mark making.<br />
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I will post outcomes once I get going with it.<br />
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<span style="color: #999999;"><br /></span><span style="color: #999999;">ABOVE "Individual Spirit" 2 plate collagraph and chine colle `+ copper etch plates 30 x 30 cm </span><br />
<span style="color: #999999;">12 X 12 inch</span>Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-84536395847561353382019-04-10T01:02:00.000+01:002019-04-10T01:07:48.873+01:00D. is for DiCarta. an exhibition I am supposed to making artwork for (end 2019-20)<b>DiCarta Edition 4 opens towards the end of 2019 in ITALY</b><br />
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Just a quick post as posting to my blog each time takes on average about 3 or 4 hours (I kid you not!!)<br />
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<b>Aine Scannell</b><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyfgRGNNBmT1paWlaw3nUlZ7FI56VUIdWOhmxMSn1h79OyJ6tpa8sWa24gk6AUahbkiGbpWRHUUVXQBxoAR9U8SVKnh3QChHEO4SV_mHKAdxHldPw903yC_9d9i7UVEPXyaoskz0J55lEI/s1600/9The+seamstresses+child.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="594" data-original-width="737" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyfgRGNNBmT1paWlaw3nUlZ7FI56VUIdWOhmxMSn1h79OyJ6tpa8sWa24gk6AUahbkiGbpWRHUUVXQBxoAR9U8SVKnh3QChHEO4SV_mHKAdxHldPw903yC_9d9i7UVEPXyaoskz0J55lEI/s320/9The+seamstresses+child.jpg" width="320" /></a><br />
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<i><span style="color: #999999;">note the image above was made onto wood - isn't it lovely how it looks like velvet</span></i></div>
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There were some very good artists in edition 3, all of whom I have connections with either through print workshop membership, exhibiting with or/and competitions/ catalogue books etc</div>
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<b>Ade Adesina</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjya48K1XtFnzP-MGtZR6BHUx0vMvH6R-M-MtWf1LEtqQSuJLTsxzu5hJB1FjGGGGMLtDpkvG5E8aUxGJ1fmNIs8cULC1SfpFH2mozrpIhRk3puBkJhzkLULKA7L6oVVi2QN57gdV4eVlOY/s1600/Ade-Adesina-72-dpi-DiCarta-%25283%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="784" data-original-width="517" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjya48K1XtFnzP-MGtZR6BHUx0vMvH6R-M-MtWf1LEtqQSuJLTsxzu5hJB1FjGGGGMLtDpkvG5E8aUxGJ1fmNIs8cULC1SfpFH2mozrpIhRk3puBkJhzkLULKA7L6oVVi2QN57gdV4eVlOY/s320/Ade-Adesina-72-dpi-DiCarta-%25283%2529.jpg" width="211" /></a></div>
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The woodcuts that Ade Adesina makes are very impressive I must say - he is a member of Glasgow Print Workshop.</div>
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<b>Alicia Candiani</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRJaJMMTYqCY0NzeHq6L5LbJNpdDP23fgyzlsNAUtvHcv8qFnNKmBP6s5ksneAJmni37kLGnCbC5o5bQUhORbU1EdWErYG5nmgi3ncGn71_Xj1ujG-2n6f3S3weYCOtnOKyVTb8aPl11Xi/s1600/Alicia-Candiani.-dicarta-edition-3XX.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1038" data-original-width="1283" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRJaJMMTYqCY0NzeHq6L5LbJNpdDP23fgyzlsNAUtvHcv8qFnNKmBP6s5ksneAJmni37kLGnCbC5o5bQUhORbU1EdWErYG5nmgi3ncGn71_Xj1ujG-2n6f3S3weYCOtnOKyVTb8aPl11Xi/s320/Alicia-Candiani.-dicarta-edition-3XX.jpg" width="320" /></a></div>
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I exhibited with Alicia in Sweden in 2007 and together we have been in other international printmaking competition exhibitions and in the books/catalogues.</div>
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<b>Ana Galvao</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNCTj0ZwYrNof750Mv-xVVkmhN0SX-QjHIml3sYFkCF9ddAV3S6F-slJzAmBjy3rjJrfZaRqc-E2r3ZDC9mFyS0AFg2cWOPR-wq51Gy9zKaVOmM-H8dfOL21aRflYGm9fHIZ1D9y_8q3Od/s1600/Anna%252872dpi%2529-Galvao-SFW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1013" data-original-width="852" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNCTj0ZwYrNof750Mv-xVVkmhN0SX-QjHIml3sYFkCF9ddAV3S6F-slJzAmBjy3rjJrfZaRqc-E2r3ZDC9mFyS0AFg2cWOPR-wq51Gy9zKaVOmM-H8dfOL21aRflYGm9fHIZ1D9y_8q3Od/s320/Anna%252872dpi%2529-Galvao-SFW.jpg" width="269" /></a></div>
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Ana Galvao - was in that recent exhibition I was in at the Eternal Gallery in Paris with Katherine Jones and about 4 other artists.</div>
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No - I am incorrect Anna Paulus is who I was thinking of..........</div>
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anyway she is an artist from Portugal and I couldn't find out much about her. When I do I will add on to this post.</div>
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......................Post started on Tuesday 9th April 2019</div>
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<br />Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0tag:blogger.com,1999:blog-8935340183780379055.post-20230220680028184542019-04-08T12:40:00.000+01:002019-04-09T01:46:39.252+01:00C. is for Child. ( thoughts on using the image of a child in some of my artworks)OK I had thought to do CHINA as it is a culture that has always interested me.......and another consideration was COLLAGRAPH for the "C" category. But then this morning I thought (not for the first time by any means) of how often the image of an infant and or child occurs in my artwork and I thought that I would actually find that more interesting to write about.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDa8KX0oV_qLQWDUvDJTgqjz2gu2Fmtb5TlUgM6Os4ogUGIvNsPCGhvcpd543R-c9ZK1Es3J_MyDVc_qZTq9BflPcj_2r2RRwP2dvnpmLeCgUMJnoy9kBsGGRm00dT58lXYP6UQ9GoSreB/s1600/Sibling.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="691" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDa8KX0oV_qLQWDUvDJTgqjz2gu2Fmtb5TlUgM6Os4ogUGIvNsPCGhvcpd543R-c9ZK1Es3J_MyDVc_qZTq9BflPcj_2r2RRwP2dvnpmLeCgUMJnoy9kBsGGRm00dT58lXYP6UQ9GoSreB/s320/Sibling.jpg" width="315" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Sibling". wood intaglio, Lino intaglio collagraph + inkjet<br /> chine colle 60 x 60 cm (24 x 24 inches). Aine Scannell</td></tr>
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As it so happens this is not such a bad artwork to start with. I say this because the central figurative image is actually taken from my drawing of a Chinese infant (from a photo). <br />
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I remember being really pleased with this print because of the way I was able to integrate the background circular-like collagraph image(turquoise blue) with the pink coloured, pigment inkjet chine colle. <br />
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I made this piece in 2013 by the way. Those small green coloured oval -like shapes which are either side of the central figure are scans of little collagraph proofs of twin embryos.<br />
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The idea with this piece is concerning the" one child policy" in China. "Sibling" refers to the brother or sister that the 'single' child never had. <br />
Although it fundamentally refers to the harshness of the implementation of the one child policy in Chinese society - I had in mind forced abortions and also the practice of 'relinquishing' female infants. In some cases those who are extremely impoverished have resorted to 'selling' their infants (illicitly of course) to foreigners for enough money to enable a family to set themselves up with a small family business.<br />
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In using the twin image (green) for its symbolic value I was alluding to the idea of the imagined, the inner and the absent 'self'. <br />
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The blue bowl at the base of the image is a reference to the concept of 'baptism' - metaphorically this refers to the practice of the newborn being submerged into the 'beliefs' of the parents be that religion, culture, politics Nation and so on. A very complex process......although I have often thought that children becoming adults at eg 18 or 21 ought to be permitted to make their own choice as to which 'religion'(if any) that they would prefer to belong to. But of course these things are just so complex and given the massive size and population of China..............<br />
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So on reflection I suppose one could say that in this case the infant/child <i>was actually</i> the subject of the artwork, although the accompanying twin image/symbol was used in an allegorical sense.<br />
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<br />Aine Scannellhttp://www.blogger.com/profile/12878546195653186449noreply@blogger.com0