Fieldwork printing process

In response to a couple of questions I’ve had about the process, here is some additional info and a couple of slideshows showing the multi-layer printing process I used for the fieldwork prints.

I used the reduction method on linoleum, where you cut away the block between each inking of the colour to reveal the ones beneath. Using this method is not for the faint-hearted… there is no going back! I also cut stencils and masks in the initial layers, wiping and overprinting to create painterly marks in the later layers. I created additional texture by embossing the paper throughout. This isn’t noticeable within the depth of the colour, but adds additional interest on the parts left white.

I used Caligo washable oil-based inks and mixed all the colours including the darkest one from the following: Diarylide Yellow, Napthol Red, Cyan, Raw Umber, Opaque White. (I did not use Black). The paper is a firm and smooth archival 220g from Seawhite of Brighton.

I started with 25 and ended up with a satisfactory edition of 18 for each, plus a random number of the usual chaotic variations (where I printed the wrong plate in the wrong colour on the wrong print, where a stencil changed shape, where I printed upside down, where the paper slipped, where the registration didn’t work out etc).

25 pieces of paper x 6 colours x 3 prints = paper going the press 450 times. Add in the sampling I did in order to check plates and colours + 450 + 30 = 480 times. With the setting-up, cleaning-up and drying time, approx 8 working days. Great fun!

Fieldwork 1

Fieldwork 2

exhibitions, printmaking

fieldwork

I have just finished these three small reduction linocuts, based on some quick watercolour and pastel sketches I did in Wiltshire last year. The open landscape there is one of rolling downs, long bare ridges dotted with copses of trees (‘hedgehogs’), slow rivers, ancient market towns and stunning neolithic and medieval monuments.

The soil is chalk-based, providing glimmers of white to pewter shining through the crops and grasses; the cloud shadows and sunlight fold across the contours of the land adding subtleties of colour and tone. Endlessly changing but eternal.

I printed them on my much-longed-for, brand-new etching press from gunning arts. There’s no stopping me now.

Prints:

Fieldwork 1, 10x10cm, 2016, multi-layer reduction linocut

Fieldwork 2, 10x10cm, 2016, multi-layer reduction linocut

Fieldwork 3, 10x10cm, 2016, multi-layer reduction linocut

Sketches:

Two of the prints have been accepted for the Seacourt International Mini-print Biennial at the Centre for Contemporary Printmaking in Bangor, Co. Down, Northern Ireland, showing from 7th April to 20th May 2016. I hope to get over to see this exhibition, very much looking forward to seeing the work of all the participating artists.

painting

the pathless wood

‘the pathless wood’.

The title is a reference to a line from ‘Birches’, a poem by Robert Frost.

..when I’m weary of considerations,

And life is too much like a pathless wood..

When life feels like that, I go for a walk, usually in the woods nearby. This painting started as a watercolour sketch in one of my sketchbooks that I developed as a woodcut print. I then revisited it last year as a large pastel. I kept the 2:1 height to width format throughout.