Last Friday I proofed, then etched again the two plates I am working on. I had been really pleased with the results, and drew further onto the plate with marker pens, before placing them in the Saline Copper Sulphate solution. Today Monday I proofed the prints and, oh my goodness, the results are shocking! I think the solution had been changed because it "bit" so much faster than before, and these two new proof prints are really black and white, and I thought they'd be grey and white. I can see that a lot of burnishing will have to take place to knock back the contrast. I may even start again, having learned my lesson. Really I need to hang fire, and do some test strips showing timings etc. as usual I just dashed in and thought I knew best. Having said that if I scrape back into the image something magical may just emerge. I'll give it a go! We have just had another couple of bookings for our weekend art courses in April so that is exciting. We are also taking out a small classified ad in all the summer edition of the art mags so it will be interesting to see if any new people contact us. This week I intend to draw directly onto the hardground etching plates in the Life Room. I think the immediacy will shine through.
Last Friday I proofed, then etched again the two plates I am working on. I had been really pleased with the results, and drew further onto the plate with marker pens, before placing them in the Saline Copper Sulphate solution. Today Monday I proofed the prints and, oh my goodness, the results are shocking! I think the solution had been changed because it "bit" so much faster than before, and these two new proof prints are really black and white, and I thought they'd be grey and white. I can see that a lot of burnishing will have to take place to knock back the contrast. I may even start again, having learned my lesson. Really I need to hang fire, and do some test strips showing timings etc. as usual I just dashed in and thought I knew best. Having said that if I scrape back into the image something magical may just emerge. I'll give it a go! This week I intend to draw directly onto the hardground etching plates in the Life Room. I think the immediacy will shine through. I get the greatest buzz drawing directly from nature.
We have just had another couple of bookings for our weekend art courses in April so that is exciting. We have just taken out small ads in the summer art mags, so it will be interesting to guage the interest.
Today I met the third and final AA2A colleague, Clais, which was fascinating. We had a healthy chat, and will be comparing notes by email shortly. I had been preparing the aluminium plates at the end of last week, and today was able to start two new etchings: one figurative, of a female on starting blocks, and another of a view across a working port. The fumes from the hardground were very strong and I had to open the windows as wide as possible. The University was officially open today so car parking was free and there were plenty of proud parents ambling around with their offspring. No doubt as they walked past the Print room window they were wondering what was cookng. I used a machine tool into a relief block print, and can proof that on Friday. I also checked into the library, and shall be taking out some reference material. I think the format for showing the prints in the June exhibition will be a slide show in the darkened video space. Now I need to source a projector for the five day duration. Outside all the daffodils were at their best, the hockey pitch was in full use, and I noticed the trees in bud. Spring has arrived.
This afternoon I met two of the other three AA2A artists which I found really interesting, Jane and Paul. We hadn't met before and it was fascinating to hear their ideas for the exhibition in June. As they were discussing their ideas, I could feel my ideas immediately expanding and developing. The four of us will participate amongst a much larger group of students, staff etc, approximately four exhibitions alongside one another by the sound of it. Let's hope it gets the coverage and footfall it deserves. It should be a healthy mix of video/film, installation, photography, drawing and printmaking, and that's just us four.
Today I degreased and added a hardground to the etching plate.
Whilst that was drying on the sunny window ledge I added the second colour (black) onto my lino cut. The edition of twenty was easy and quick, and the registration worked well. The results were graphic and striking. There is a simplicity about a three colour lino cut that really appeals.
I then returned to my etching and used the etching needle to cross hatch into the shell forms and etched the plate for twelve minutes. The resulting proof showed dynamic, rich, velvety lines. I now have two working methods/vocabulary for development in future.
Also briefly experimented with a small postcard sized piece of Balsa wood which I had on me. Ran off some black proofs and intend to overprint once I've dug out the image with my electronic tool. Last time I used a biro to make an indentation but could only go with the grain! Handy though if you're travellimg and need something super light to use as a "plate".
