The Cats out of the Bag

If you are interested in making a print-on-demand,  book then check out a great competition on PHOTO BOOK GIRLs blog where she has extensive information and reviews about which 'print on demand' service to use.
Of course I would be delighted to be able to win the prize and would have no problem with making lots of books.

Wood Circle - from Relief to Intaglio

This print / drawing - I am not too sure what you call it, not that it really matters that much - well it was originally produced ages ago when I was at Wimbledon doing post graduate printmaking.  It was done as a relief print.  I just couldn't get to grips  very well with the Albion press there and because there was practically no one,  to offer us technical support much -  I didn't do that much on the relief side.  Having said that I guess I am more into intaglio as a printmaking process.  There was something wrong with that Albion press though - I wonder if its still there in the studio ?  or whether "el Alan" has chucked it out.

Getting the height correct with the various boards so that the pressure exerted when one pulled the lever over didn't seem to work very well. The other printmakers also had difficulty using it.  I used to get stressed up by it.  I don't think I would now as I would approach it with more patience.  I have one more version of this somewhere which is just the single print but also worked with coloring pencils just subtly though.  Blast I can't find it - just had a look upstairs ......... which is now bugging me - wondering where the heck I have put it.

Anyway you get a little bit of an idea of the print proofed as a relief print.

This dreadful mess is a relief print which I tried to print intaglio - although I knew that it most likely wouldn't work because the lines were too wide.  They were originally cut away with a lino cutter - well actually those particular tools can be used on wood or lino.

I had this image for ages and I have always liked it so I suppose I hoped it might work at least to the extent whereby I could make some further interventions .........but no it wasn't really going to be happening.  I was still thinking about which image to work with for the DCA print studio exchange.

In the end I thought that I would try to draw the image again on the reverse of the 'plate'.  So I drew a slightly different version on the reverse. The diameter of the circle by the way is about 18 cm.

This is a proof of that  image - it's a state proof which I made not long before it was b.a.t.  I loved working with this wood - I used a scalpel to initially go into the drawn lines and then a 'scraper'.  I purchased it a while back at intaglio printmakers - possibly to use for burnishing - though to be honest its something I could do with some instruction in,  as when I have done it - its been a bit of a disaster.
Here's a photo of a scraper - taken from the catalogue of Intaglio Printmakers (London).

I used it to go into the wood over the lines made using the scalpel and it seems to make a line that the ink goes into well for the intaglio proofing.  I actually have the small and the large one.  The other item which came in very useful was the roulette wheel I bought ( this was inspired by seeing Sandra Baxter using them working on one of her largish copper plates.

Sorpresa Scatola di Venezia

which means 'surprise' 'box' and 'Venice'......you get a little box (container) and don't know what's going to be in it.  So it's a surprise...............

In April/ May of last year (2011) I decided that I would like to make some pieces for a project that was being put together by Marina Moreno ( based in the UK)  for an installation  to be exhibited at the Serra dei Giardini, Venice.  Initially one had to send them jpegs/info for a preview of  your work to see whether they wished to include you in the project.

I wondered whether I would be able to make such teeny  tiny  works ...but as I got more and more into it I found that I was able to do so.  Perhaps the fact that it was 3d helped.  I 'erred' on the smaller side as it had to fit into about 8 cm cubic space , i.e., inside a transparent acrylic  globe.  I already had one of these ( I purchased it at The London Graphic Centre years ago in case it came in handy for a project in the future) .................. so I was able to try it out to see what it looked like - which was a great help.


The blurb about the project said there was going to be a catalogue produced too so I thought that would be a nice souvenir of the project as although I have visited the Venice Biennial in the past (1999) vs a vs the delegation,   + in relation to a project called "Agendas X3 "  it was'nt likely that I would be in a position to attend.

Under a broad interpretation of the given  theme "ILLUMINATION"
 - here are the pieces I created for the exhibition:

1.

" Inimois II "

 Size: 55 x 85 x 15 mm  /   2.25 x 3.75 x 0.50  inches

  
 Techniques/ processes:

trace monotype, drawing, collage, drypoint pastel drawing. C.A.D. printed out on on 'Fabriano 5',  160 gsm paper, using archival inkjet pigment. Additionally incorporated is 'Fabriano Rosaspina' 220 gsm and Hahnemuhle   paper 220 gsm,silk thread, transparent tinted gauze ribbon with bookbinders pva.

 All materials archival

 The subject matter of this piece, is linked to the acquisition of knowledge –

  i.e. to become illuminated.  There are darker aspects involved in this process   

  but also lighter dimensions which the book explores.  Now that the internet is 

  more a part, of most peoples lives -  knowledge is no longer the exclusive

  domain of the elite.

 The word “Inimois” comes from the ‘Lingua Ignota’ of Hildegard of Bingens writings , this was a  secret language, that she developed in the 12^th century.  It means human being or being human………..

2.

" Beata Orbis "

Size:  60 x 60 x 20 mm  /  2.5 x 2.5 x 0.75 inches

Techniques/ processes:

C.A.D., intaglio collagraph, inkjet printed, onto Mingeishi Japanese paper, papier mache onto eggshell, bookbinders PVA and brown craft paper.  Shredded 60 gsm paper tinted with acrylic ink.
all materials archival

Generations have come before us and will follow – this piece concerns  people of the future, who will walk this earth and be the guardians of our planet.  The shredded text representative of how they are ‘nested’ within history,  knowledge and learning – with the hope that they will add further discoveries to this sanctuary and be wise and benevolent to our ‘blessed earth’.

3.

" Tiger House "

Size:  65 x 70 x 42 mm  /  2.5 x 3 x 2 inches

Techniques/ processes:
trace monotype, drawing, drypoint pastel drawing. C.A.D. printed out on archival pigment on Bockingford watercolour paper 190 gsm also incorporating bookbinders pva.
all materials archival

This piece has visual icons from cultures of the East, West as well as from the Southern hemisphere and is ‘sited’ on handwriting that refers to the visionary 17th century artist William Blake. In doing so the artist makes an allusion to the difficulties he faced because of his “otherness”. Gradually the people of our planet (represented within the construct of a tiny house form) are moving more across and between borders – and so there is a need for us to show  more tolerance towards  people of difference within our social environment.

http://www.venicevendingmachine.com/

See the top navigation bars on the home page one of which takes you to the catalogue.

This link takes you directly to the catalogue on Issu.dot.com

Burning Marks in Printmaking...........

I think this is the second time I have had a 'fiddle about' with making burn marks with a pyrograph tool,  this time onto muslin ( or also called calico)  cloth and I like the effect.  I also tried using a stencil cutting tool which you plug in at the mains.  The tip of it heats up  and ostensibly it is used to burn its way through the wax card or acetate I suppose as in if you were cutting stencils - I have never tried using it for that.  I thought I would compare them.

I was thinking that I might use this as part of my printmaking work at some point.

Submissions in 2011 for 2012 exhibitions (+ outcomes)

This steel plate etching with inkjet chine colle was one of the three prints I sent as submissions to the British miniprint exhibition, which is organised nowadays by the Printmakers Council based in London, which I used to be a member of ( I was actually on the committee for about 4 or 5 years).

I had been selected for the previous exhibition i.e., the 7th British International Mini print and wondered if it was too much to hope for,  as in will I have success on this occasion?  Anyway I did,  and it softens the blow somewhat of NOT having the artworks I submitted to the Royal Scottish Academy's annual open, selected.  The costs for the RSA were reasonable as these things go,  (especially compared to the R.A.  in London which is eight times, more expensive so you don't feel so bruised.

"Eve" linoleum intaglio   image 8 x 10 cm   paper size approx 20 x 30 cm

The figurative image above  is one that I have used previously on a yellow coloured background. The title was "Catalan bird" referring to the small copper etching of the medieval birds found in the margins of an illuminated manuscript. 

 "Catalan Bird" 

polymer spit bite and hard ground etching with inkjet chine colle 

20 x 30 cm

  It was in a work that was made using the so called "Polymer spit bit" technique.  Which is where you laminate a layer of photo polymer film with a stochastic screen onto your plate and then 'cure' it.   After that you layer on another polymer film.   Then you drop some of the developer which is of course made using washing soda crystals and water.  It's ages since I did it - so I would definitely have to search out my notes.

I have also made submissions to the  SSA (Society of Scottish Artists') exchange exhibition at the Wroclaw Fine Art Academy Gallery in Poland.  I have not had any success with my submissions to the SSA as of yet and hope that I will at least this time get selected for this and or for the annual open they receive works (submissions) to,  in the second week of January just after Christmas.

I also sent a proposal for the Engramme solo exhibition (in Canada)  but that is a bit of an 'outside chance' when you are up against people such as e.g.,  Nan Mulder (really admire her mezzotint prints - think these works are better than her paintings) and David Faithful ( his website is pretty nifty - don't you think?!)  who are also  members of SSA. In addition they are long standing members and  quite involved with the organisation so you never quite no what your chances are realistically.

The above image which I refer to as the disappearing polar bears was my favourite I had hoped might be selected but it obviously didn't appeal to the selectors.
I'm sure I 've seen those three bears somewhere before ...........Here's a link to a print started in January 2010 which is still in progress.

The 8th British Miniprint, is currently touring the UK.
Heres another photo of the bears with the embossed edge more apparent.

Note this is a LINK to one of the prints I submitted to the previous British Miniprint Exhibition.