All kinds of dust

Day four of building mayhem (oh the dust…!) and I’m actually getting a lot more done in the studio than I thought I would, experimenting further with pine resin as an aquatint. My first efforts, in I which I used it with sugar lift, were interesting - if you want the subjects of yr portraits to look as though they’re recovering from a hideous accident - but weren’t really what I was after (see the example below – and that was AFTER cosmetic surgery…). I’m not entirely sure what was happening here; it may have been that the water to melt the sugar was too hot, or that the liquid hard ground just didn’t agree with the pine resin. The ground lifted off in unsubtle blobs which was too uneven for what I’m trying to achieve.

Having abandoned the sugar lift, I am now just stopping out areas with the liquid hard ground – with much better results (see above and below). It’s easy to get in a tangle here because it means painting out the white areas with a dark liquid, but then, printmakers are used to doing things backwards anyway!

Exhibition update

The summer exhibition frenzy is almost at an end now. Oxmarket has been and gone; sold three prints, all of them dark, so I may have to rethink my supposition that people don’t like gloomy images on their walls! Hampshire Open Studios finished at the weekend. The Wayzgoose was well attended and Southampton Ukulele Jam tore the place up with tunes such as Rawhide and Come Up and See Me. Some lucky person won a copy of the Made in Southampton limited edition box set; fifteen original prints by members of Red Hot Press presented in a hand-made folio, complete with a specially commissioned forward by Philip Hoare, winner of the 2009 Samuel Johnson Prize for Non-fiction. Print Zero Print Exchange 6 exhibition opened in Seattle on Saturday and I’ve just got to get my selected work to the workshop for it to be taken to Bristol for IMPACT 6, then that’s it for this year I think. Time to concentrate on producing some new work.

The Albion

I got to have a go on an Albion press this afternoon – get me! I spent a very pleasant afternoon at the home of wood engraver and fellow Red Hot Press member Jutta Manser who is the proud owner of a small Albion press. And what a thing of beauty it is. Jutta showed me how it worked and I printed a couple of my own wood engraving blocks on it; wonderful.

Made in 1884, it’s a magnificent piece of engineering. And ornate with its gold paintwork on black. One has to keep reminding oneself that these were actually working machines used in the printing trade, not merely decorative ornaments. Even the feel of it, winding the plate in and out and pulling across the handle with a satisfying clunk, is most gratifying. I can’t help but wonder about its history; where it’s been for the last 120 odd years… and how nice it is to be a little part of that history, if only a speck.

And congratulations to Jutta for having two prints selected for the Society of Wood Engravers annual show at Bankside Gallery, London in September. Richly deserved.

Hiatus

Creative activity seems to be off the agenda for the next few weeks or so while home becomes a building site. Much preparation to do before the builders start; stuff to sort out and get rid of, furniture to move, prints to take off the walls… we are in chaos. So, all I can do at the moment is think about my work, which is no bad thing as I feel I’ve come to a bit of a sticking point anyway.

It’s becoming increasingly difficult for me to find a niche for my work. Galleries aren’t keen on it because it’s too illustrative and although I have had good selling years, private collectors seem to find it too dark for their walls, once they get the references. I’d like to get into book illustration but again, where do I fit? Too dark for children’s books and there just aren’t many illustrated books for adults (not nearly enough) – apart from graphic novels which isn’t the way I see my work going. Other than writing my own books to illustrate, and then trying to get them published (yeah right), I don’t know which way to go. Then I get caught up in my own little dilemma about whether it’s right to put my images in people’s heads when they should be forming their own from the text… but that’s another post for another day.

So, I’m hoping these next few weeks will give me time and head space to at least think about where my work is going, even if I can’t actually make any.

The wonders of pine resin

Here’s my first experiment using pine resin as an aquatint. It’s too dark at the moment but I was quite pleased with it for a first attempt. I ground the powder from quite large lumps using a somewhat crude mortar and pestle, if you can call it that. Can’t remember what beach the stone came from but it was most probably Welsh.

The texture of the aquatinted area is uneven and rather crazed in places which may be because I’ve not put enough resin on or because the powder isn’t fine enough. This is something I’ll be able to experiment with to get different textures and tones. I’m not a huge fan of even tone in my own work; I quite like a bit of chaotic texture and foul biting going on, so I think this rather basic method of grinding my own powder and dusting it on using an old pair of tights is going to suit me rather well.

Now, where’s my burnisher…

The Undertaker's Sisters-in-Law

And here they are in their final state, out in the world.

Bitterne Sugar Lift

The sisters are just about finished – I think – so image will be posted when the ink is dry. IMPACT 6 submission was delivered today; two weeks to wait to see if I’ve been selected. Work ready to go to Oxmarket Galleries in Chichester next week for exhibition at the end of this month/ beginning of August. Work framed and ready for Hampshire Open Studios in August. It’s all coming together.

Further images for The Undertaker’s Nuptials are just not doing at the moment so I’m experimenting with sugar lift. At the moment, I’m leaving the areas where the ground lifted off the plate open (see above) but although the results are interesting, they’re not giving me the contrasts I want. So on the advice of Arizona Jim, eminent printmaker and all-round good egg, I’ve ordered me some pine resin to use as an aquatint. It arrived today - in big lumps - so pestle and mortar needed first. Or some such. This is going to be fun.

Sugar lift

I’ve just started experimenting with sugar lift (Camp Coffee and liquid hard ground) – some interesting results. I like the brushiness of it. Tricky knowing how long to etch for though; I over-etched the shadows on the sisters’ faces as you can see (scary), but some selective burnishing should sort that out. I hope.

Dilemma

I was thinking yesterday how incredible it seems that it was less than three months ago that the studio first began to take shape – and here it is, up and running and fully equipped, with the first etching entirely made there nearing completion. Yesterday was a day for retrospection; it was a year ago that my dad died. I think he’d be pretty pleased that his workshop is still in use for creative purposes, continuing the family tradition.

The sisters are almost done now; just the final tweaking of lights and darks and a bit of detail here and there. The text of the shop sign was a dilemma. I wanted Lycoris and Adrasteia to be inside the shop. However, if they were, the writing on the shop window would have been backwards, which may have caused people to think I’d messed up when making the plate. So, oddly, the sisters are standing outside their shop. But then, they’re an odd pair and it’s an odd story…

A delightfully printmaking-filled weekend

… is what I’ve just had. On Saturday I went on a wood engraving course at Red Hot Press, the print workshop I’m a member of, and jolly good it was too. Jutta gave us an excellent exercise to start us off and get us to use different tools to make a variety of marks. We had to divide the block in half and using a leaf as our basic form, engrave one half of the block black on white and the other half white on black. Not as easy as it sounds!

I was working on a block about 3cm by 1.5cm, the smallest I’ve ever done so that was a challenge in itself. Not particularly taken with the result but it was a really useful and fun day.

Yesterday I spent most of the day in my own studio working on the sisters-in-law. They’re barely a week old but showing signs of aging already…

The sisters-in-law are born

Lycoris and Adrasteia are the first characters to be drawn, etched and printed at Project Atelier – and here they are in their first state. There’s a long way to go with this image yet and I’m not sure what the next step will be.

An etching press of my own

15 June 2009 was a great day for me – my etching press arrived! I still can’t quite believe it. It was delivered in the most enormous crate and I wondered if I had been sent the wrong thing; or I’d got my calculations wrong. But thankfully no, it was just exceptionally well packed for its journey from York. What a thing of beauty…

With the help of a couple of friends (thank you Gareth and Georgia) it was lifted onto the bench and, after trimming the blankets and putting in the bed, I was printing! Works like a dream; I pulled a perfect cardcut and an etching first go.

This morning I mixed up my first batch of copper sulphate solution and etched a plate – another first for Project Atelier. Put the plate through the press and the Undertaker’s sisters-in-law were born. I have my own etching press. I am very happy.

The Undertaker's Wife

The Undertaker’s wife could be found on occasion in the parlour of her husband’s premises, ‘minding the shop’.

A spinner by occupation, she would sit at her wheel, treadling rhythmically, left, right, left, right, left right. So smooth and regular were her movements and so gentle the sound of the flyer as it coiled the thread around the bobbin, that her customers would find themselves falling into a reverie as they waited to be shown into the Chapel of Rest. No one minded.

She worked with quiet concentration, holding the fibre in her right hand and letting it play through the fingers of her left as it fed through the hooks of the flyer. When it was a little too thick, she would tug at it lightly to even out the thread. Sometimes, she would bend her head towards the wheel with slight nodding movements which every now and then became so violent that her long, loose hair swung forward and barely missed becoming tangled in the workings of the wheel.

Lycoris and Adrasteia

The Undertaker’s sisters-in-law are taking shape. They’re a funny looking pair; I like the way that my characters sort of form themselves… they come out how they come out and are quite often a surprise to me.

The photograph shows the plate as it’ll be etched in its first state – just the basic outline of the pair. I’ll build up light and dark, tone and texture with successive etchings.

Now to the Undertaker’s wife…

Reflection

It’s funny what a difference putting a print away for a few days or weeks can do for ones perceptions of it. I often dislike work when I finish it and then put it away to flatten. I come back to it later with fresh eyes and it usually (but not always!) looks a lot better. I guess I get sick of the image when I’ve spent a long time working on it and am unable to view it objectively. Such was the case with my cockle wood engraving.

I said goodbye to a friend today. I’ve not known her long but have developed a fondness for her and a great respect for her wisdom, compassion and ethics; I’ll miss her. Sad when we have to say goodbye to the really good people.

I wanted to give her something to say thank you and the cockle seemed the most appropriate, the sea being a recurring theme in our conversations. I was pleased when I got it out of its tissue. I hope she likes it and it will be a positive reminder of a good ending.