This week: I’m going back to the studio to make some more plates. I contacted Artechoke Print workshop for the possibility of making plates there and I will try it out next week or some time. That will give me some more choice, although their charges are quite high for open access.
London Print Studio April 5th. A morning session here with some training on the photopol unit. Took ages as there was someone else there who took his time. I did finally make one image. It didn’t print right as there was not enough pressure.
Today I worked on the other two images and darkened areas which needed doing but I had to go through a process to see where I could darken them. Just sent them off to be printed.
I have ordered some organdie to print on, I’m going to make an image printed on thick paper with the dress printed in material placed on top.
Bainbridge Studios March 24th 2019: Photopolymer Printing. I had another go at doing photopolymer printmaking today with my image The New Coat. It worked really well this time and I managed to get a nice white border which I wiped with chalk. The image was exposed for 7 minutes, washed in water at 20 degrees plus, printed using Charbonnel Etching ink on Hahnemulle Paper and Somerset Paper.
I reprinted this using chalk on the edges and white border and it looks better than this one. I like the border which was a mistake as the image was smaller than the plate!
March 2019: Series of Images: The Family Album: Once upon a time. This is the first draft of this new drypoint, it includes my nan, brother and myself. My nan is telling us a story which she often did. I am adding an owl and some snail shells in the print, it is a kind of fairy story/mythic image
Family Album Series 2: The New Coat. I am working on another image to print this week at the studio. This one is inspired by the Queen of the Night/Innana a Babylonian Queen, also named Isis with one of her familiars a lion type of creature. She has large bird/mammal like feet too. She can be seen in the British Museum.
this is a first draft print, using rubbed in relief ink to see how the drawing is coming. The area behind the figure needs to be really black dark. I like the face, it’s worked well and also the addition of the creature, although its smile is a bit spooky!
Now I need to darken the tree area, work on the creature and the ground, maybe just thin lines to give a tone.
March 2019 Drypoint Workshop at London Print Studio. I produced a drypoint using thin acetate, worked on, sanded, stuck with wood adhesive to a piece of card, cut to shape, namely cutting out the top of the wings and printing with etching ink mixed with a little plate oil.
I am inspired by the work of Piia Lehti who works with soft images and contrast.
November 2018: I am now rethinking my family album series. The image with me with wings and feet needs a lot of work.
- I want to create an image with soft background to contrast with darker foreground images
- To work in a more realistic manner with the figure and the added items: wings, feet, etc.
- To do a series of drawings as basis for research
- See picture in pixlr : piia lehti’s images are similar to mine
- to experiment with ink and charcoal
September to October 2018: I am adding some details from my owl images and the Queen’s wings. In December I am going to do a workshop in photocopy etching to produce this series of three images.
1 August: I am working on this image from my childhood to add details that relate to a story and mystery that form part of my visual sketchbook, memories, thoughts, and who I am and how I see myself. Once it is ready I will book some time at the studio to print a photopolymer image. I’m not sure about the feathers – maybe none, maybe bigger, much bigger. The feet and legs belong to Innanna the Queen of the Nig
21 July : I did a workshop at London Print Studio today. We started by sending them an image in greyscale which was transferred onto film at high quality; the highlights were enhanced to give some pure white areas; this image was then prepared with talcum and laid on top of a sensitised plate at 70 seconds. The plate is then washed in water to reveal the image. The plate is then hardened in the light box to harden the emulsion. Then it is ready to be printed.
I printed this image The New Coat in sepia on cream paper on an etching press inked up in the usual way. It is so much easier than printing a collograph as the plate is really smooth. You start with scrim in a corkscrew method and then three times with clean scrim, finishing with tissue to reveal highlights.
I will be continuing with this process and booking open access 0nce I have my image ready. I’ll be going to Old st to get my film positive made.