Thursday, September 30, 2010

Newstand reworked




I reworked the top to have a rendering of Apollo.

Monday, September 27, 2010

Newsrack/stand





I had some fun with the spraypaints on the back and sides, but I am still going to rework the top.

Saturday, September 11, 2010

Cool caterpillar

Random creature of the day.


I picked it up to take a look and ended up with a rash :P

Not too happy

I continued spraying and tried adding tonal value. This was difficult to control, but I played around until I found the look I wanted.

Overall though, the images were too flat and somewhat boring.


This was the top area. I decided I needed some reworking.

Spray painted

After some brainstorming and rough sketches, I decided on imagery for the stand. I look at this project as a form of street art, so I wanted to use the tools and medim of street artists... Spray paint!

I put a first layer down of red, then cut bird stencils from brown grocery bags. The birds were then sprayed black to look like ravens.



Primed

Primed, sanded and ready to work.

This stand really ate up the primer, I used 3 cans to get this level of coverage.






Cleaning up the newstand

I employed the help of the Oxbowettes :-)




- Posted using BlogPress from my iPhone

Tuesday, September 7, 2010

RN&R News stand project

Reno News and Review newspaper, have asked local artists to paint some of their stands as an upcoming art installation in downtown. I have my stand and have been working on turning it into an art piece.



Thursday, August 26, 2010

Art School

After leaving my graphic design job, I was lucky enough to get my portfolio accepted into the Visual Arts undergraduate course in Pittville Art School. Pittville is an awesomely cool campus at the University of Gloucestershire in Cheltenham, UK.

It was a childhood dream to go, not only to art school and paint, but to go to this actual college. I have memories of driving past the college as an elementary school student, thinking how lucky the students were to be able to paint ALL day! The miseries of math were far behind them and that alone sounded appealing.

I loved practically every minute of my time at Pittville, it was like everything had finally clicked into place for me. Well almost everything, I was a mess in the print room but somehow managed to scramble at the end of each semester to pull it all together. Ceramics seemed too easy at times, I should have found more ways to challenge myself, but painting and printmaking gave me the stimulation I was looking for and it was good to coast for part of the time. I made it a habit to work on paintings in the morning and ceramics after liquid lunches at the college bar LOL.

I could write pages of my experiences at Pittville and the things I came away with, but it is so big that I would not know where to start and would not know where to end. I will just say that I have never experienced anything that felt so right for me, nor having had a feeling of complete belonging, as when I studied as an undergraduate there. I am just so incredibly blessed to have had the opportunity to have studied at Pittville.

Thursday, August 19, 2010

Final layer 8 in blue

Quick update with the comparison of the blue and green editions. First green,



Then (with bad lighting)the blue;



Wednesday, August 18, 2010

Final layer!

I marked out the areas that I wished to keep black, took a deep breath and hacked away at the last of the matrix.




I had originally intended to have a thick black layer, that heavily outlined the peacock. After watching the layers build up, I made a late decision to keep the lines relatively thin.

Here is a test run of the black:


And here is the final "Green Peacock" print.



I will post the blue version with this green one for comparison later.

Saturday, August 7, 2010

Alternate layer 7

I finished my transparent yellow layer for the green peacock edition, then moved on to make a smaller edition of blue peacocks will there was still enough of the block to print.

For this blue edition, I made a prussian blue and mostly scarlet blend to hopefully add the same level of dimension that I had in the green edition.



It is hard to see here, but the red really pops over the under layer of blue. Using the Prussian blue in the blend helped me keep a good contrast to the background, which was the opposite effect to the green peacock edition.



Wednesday, August 4, 2010

From printer to graphic designer

After completing my 2 years in commercial printing, I moved to Gloucester in the UK to study full-time Graphic Design. I have had a love of letterforms for most of my life, mostly down to a family friend who is a calligrapher and stone cutter and through growing up in the leading area of the Arts & Crafts Movement. Alex O’Sullivan is more than just any calligrapher; he is a 2nd generation calligrapher. This means he stems from the father of modern calligraphy, Edward Johnson. Johnson taught Eric Gill the famous typeface designer and sculptor, who then taught Alex O’Sullivan. Alex lived and worked in his studio near our home.


We spent many of our summer evenings in the Sullivan’s typical English/Irish cottage garden with him and his wife sharing wine with my parents. For me it was a magical place filled with the smells of drying petals and the sounds of the spring running through the flowers and tree lined banks. I loved the curios within the studio at the end of the garden, all sorts of interesting brushes, pens and inks would be on the work tables. The walls were lined with chisels and blades of his stone cutting and an ancient stone wheel was outside partially lost in irises for sharpening the tools. From this early age I imagined my adult life would have such a leafy studio hideaway.

Somewhere around the age of 13 or 14, my mother horrified at the state of my handwriting, sent me to Alex for some calligraphy classes. My handwriting remained bad to terrifying, but I did learn to appreciate the beauty of letters and just as important, letter spacing. I used my new skill to enter poetry and art competitions in one of the local villages and amazingly won prizes. Rather amusing when I still had such a horrific scrawl for my school book work. I wonder if that makes me a 3rd generation calligrapher to Edward Johnson? Hmmm, I never thought about that, I have a pedigree!

Jumping forward 4 years to my Graphic Design course again! In the UK, it is possible to take courses that concentrate on a given subject, without core requirements outside of the subject area. Everyone studying that subject take the same set of classes from 9-4 every day (with a lunch break) for the 2 years. As a group we got to know each other pretty well and lived the ups and downs like an ongoing soap opera.

Subjects covered were elements and fundamentals of design, communications, black & white photography, illustration, print media, relief & screen printmaking, drawing and life drawing, typography and computer graphics. There were probably more subjects, but I forget! The second year was mostly project based where we designed as though for clients. It was a tough course, everything was so tight, even letters as small as 9pt had to be hand rendered for text. Critiques were rough too; the lecturers really pounded everything to make sure we could back up our designs with the appropriate bullshit.

I completed the course, but I can’t say I was an outstanding student. After being a commercial printer, I had thought the course would be a means to make art while being paid a salary. I found the boundaries of design constricting and dulled my spirit. The precision involved was tiring and frustrating and once I started work I realized how important it is to produce someone else’s dream and not my own in that line of work.

Computers gradually became the main system of working and drawing boards became something to display the finish design work rather than a work tool. I burned out totally and hated the fact I had to sit at a computer day after day.

So I quit…

layer 7

I have divided the prints up so that I have two different editions. The first set I printed up with a translucent mix of yellow. Just clear enough to show a small amount of the blue underneath to create a green. I am hoping to get the feel of the irridescent look of the feathers on a real peacock.


Here is the yellow (it looks less green then on the photo).



After I rolled out the ink, I dabbe areas that I wanted to show threw clearer. I paid attention to the neck and eye in particular.


Here are the results. The green layer 7 is shown in the centre, the blue layer 6 is to the right for comparison.

Saturday, July 31, 2010

Am I a Printer or Printmaker, or maybe both?

I have one of these personalities that have the ability to completely shut an area of my life away never to return. Good thing or bad thing, it is part of my make-up. Sometimes it gets used to help through traumatic times, other times, just because it is convenient to help me through the next phase in my life.

The trouble with having a mind made up of boxes is that sometimes I forget where I have stored some information that could be useful! A less troubled mind would draw connections through life’s experiences and grown from it. Why can’t I manage that? Ramble time!

When I was still in High School, I drew line drawings for a printer to use in logos, print illustrations and for the local newspaper. I wanted to be an artist, but I could not see a living in it, so I figured that design would be a good compromise but I could not afford college. I dropped out of 6th form at 17 and took a full job at the print shop that I had been drawing for. I was enrolled into an apprenticeship for print origination and reprographics, which required about 10 hours a week at college for 2 years and 35 hours “on-the-job” training. My plan was to earn enough to get through design school and learn the trade I would be designing for at the same time.

My first day on the job, I was sent to a fellow printing firm to pick up a “left-handed setting stick” and a tin of tartan ink… it was a print apprentice initiation joke @_@

I learnt so much during those years, thanks mostly to the print shop being so small and the college being well funded in the printing area by national businesses. In work I was rotated in all areas of the business, other than operating the offset litho presses. It was a newly opened shop by a young owner that was starting with older equipment and technology (and poor paid staff such as myself LOL), to get his business up and running.

I took orders, answered phones, used the computer typesetter, designed business stationary, illustrated, cut and pasted design work, designed logos, ran errands, proof read, made the tea, used the reprographics camera for negatives and positives, developed aluminium plates for the press, folded flyers, stitched books, glued spines, wrapped up letterheads for customers and even drove them their orders! Probably lots more, but you get the idea. The print machine was the only the thing out of bounds.

At college (where there were just two girls on the whole course) we learned how to use the “fancy” technology that the big firms used (and a little about old technology such as letterpress) print theory, history and other information to do with print origination. It was mostly photographic based, separated with computers in those days but we covered letterpress, lithography (4 colour and single colour process)and screen printing processes.

Upon completion of my apprenticeship, I received various certificates etc but the coolest of all was the legacy passed down for many centuries. Apparently, Queen Elizabeth the first passed us the right to wear a sword within the City of London, have a blind eye turned to us if we were drunk and disorderly and allow us to herd sheep over London Bridge. Not a bad result for 2 years work I would say. I am not sure that would hold up in court, but very nice rite of passage. I then moved on, got my first flat and took a Graphic Design course, but I will ramble about that another time. The point is, I moved on.

Somewhere, I have all this theoretical knowledge tucked away ALL about printing. Printmaking may be art, but it uses the theory I learnt all those years ago. The technology I used back then is largely obsolete in the commercial world, but is being seen in today in the printmaking art world. Letterpress, aluminum plates, even offset litho is being used now.

I think I was pretty good at what I did and I was proud that I reached a distinction level. So why was I such a disaster in the printmaking studio on my art course? I guess at that time my mind had shut and taped down those boxes that could have offered me valuable knowledge. I concentrated on the ideas but completely blew it on the process. I could not relate printing to printmaking, for me it was different parts of my life that did not connect.

So far this year has gone pretty well, but I can’t help but think it is a fluke. Disaster is around the corner and I will end up causing an explosion in the print studio (or something equally large). My mind is shuffling through its unlabeled boxes trying to find the connections to what I knew back then and applying it to what I am doing now. There has to be ways to use the print knowledge I have with a creative thread to make a successful output of work within the print studio.

I just need to open those boxes and figure it out.

Friday, July 30, 2010

Layer 6

More carving to add some depth to the blue.




This is ultramarine with two parts of phthalo green and one part black.




The inks are oil based and needing a few days each to dry.

Here they are on the drying rack at Oxbow Press.




More layers

Ultramarine Blue is up next with a smidge of scarlet for layer five






Friday, July 23, 2010

July-August

I still have not added to my print layers on the peacock relief print. I have been getting so frustrated about the lack of time for creating. I am probably going to miss the deadline for this exchange and show. I had hoped to be part of the Midtown Artwalk at the end of this month too.

However, I am going to change my outlook. Instead of thinking that my studio time is being used up on unexpected kids/domestic crises, that leave me fed up and frustrated, I am reminding myself that this is the Summer! I am going to quit getting miserable because "my" time is being pushed aside and embrace the fact I am lucky enough to have my kids home for the fun part of the year. Time with the kids is still "my" time, just a different angle of it. I am going to think of my studio rent as a retainer so that I no longer feel I am not getting anything for my rent.

If I happen to get time to make something (other than crafts with the kids!), I will feel blessed.

I love my kids and time with them is fun. I was losing my perspective somewhat and snapping at them because I was dealing with their "accidents" on my art time. That was totally unfair. Childhood days go by too fast, I need to enjoy every moment of them.

With this in mind, I intend to enjoy the last month of the school vacation, and know that I will have plenty of time to create art when they are back in school. I can't express how enlightened I felt by changing my way of thinking about this. The pressure dropped and I feel happy each morning to plan adventures with my children!

Monday, July 12, 2010

Layer four

Light blue this time!


The orange took a REALLY long time to dry. It was still a touch wet a week later, but I figured I would go with it as I will be adding more blue along the way.

Thursday, July 8, 2010

Nada Dada Reno 2010

The cat is out of the bag with my naughty Nada painting. Here is the full painting and an interview that is part of a documentary being made for Nada Dada 2010.





Untitled, 2010,
acrylic on board,
8ft x 4ft.

Double Click on the YouTube link to see fullsize video

Layer three

It took a while, but I got that third layer carved!

I printed up the orange layer:








I like the spicy look of the colours, I just hope that this won't be a bad choice when the bird has such amazing colour in reality.

Thursday, July 1, 2010

Carving the next layer

Here I am carving the most complicated layer. The green is one of the most dominant colours in the print so there is a lot to carve away.

I traced the areas to show through as green, then transfer that to the gomuban. Each cut is made with a 1 or 3 blade cutter.



Tuesday, June 29, 2010

Layer two

I printed up the yellow that was somewhere between a saffron and ochre, then carved out my next layer which was a green. I am printing in oil based inks, so drying times are slow, but this gives me plenty of time to work on the next layer.


I am trying to use dusty colours reminiscent (to me) of the colours of India. I will probably make the blues more purple than a natural peacock, to be able follow this scheme. It will depend largely upon how the lighter blue will sit upon the orange layer that I will be cutting next.

Saturday, June 26, 2010

Layer one

Here is my master image after breaking down the colour separations. From this I further trace to get each colour on a separate sheet




Friday, June 25, 2010

Breaking down the image

Using the method Wendy showed us, we made multiple copies of our image using tracing paper. First we made a master to work with, then as I had a lot of black, I made a copy with the black marked. The rest of the colours were then identified and traced as an individual layer. The image I am using will have around 7 layers.


It is important to make sure that the drawing contains registration marks and trace these carefully on each tracing. The layers are to be printed in the press for this technique, so it was important not to have anything very high or hard to keep the paper registered. We made a tape bumper for our guide which enabled the paper to be pushed up to the same place on the matrix each time and still be soft enough to go through the press.

The matrix used for this project was called Gomuban and is a vinyl type of product that is both thin and flexible, ideal for press use.

Reduction Cut Workshop

After working on reduction cuts earlier this year, I thought it would be advantageous for me to enroll onto a 2 day reduction cut workshop held by Wendy Willis at Oxbow Press.

The reduction cut technique is one that I have not heard of before, so I am very interested in the process and what there is to be learned from this technique.

I have been looking at different images that might be suitable for the process, but not having experienced it, it was difficult to choose what would be best. I looked at expanding the story of Lady Penelope, but I think her stories are best narrated in intaglio rather than relief.

I have settled on a peacock image, mostly because the greens of a peacock tail are probably my favourite colour. It is also refreshing to make an image that I am not emotionally connected with to any great extent.

Monday, June 21, 2010

Nada Dada

Last week I raced to finish the snail painting in time for Nada Dada's Naughty Show. I finished it just in time and we hung it in the back studios of Oxbow Press. The front gallery had the "Naughty, Taboo and Just Plain Wrong" print exchange displayed. The weekend saw a large number of visitors to the show and I enjoyed seeing the reaction to my painting. I am still debating whether or not to add the photo of my final picture to this blog as it is VERY naughty!
http://www.nevadamagazine.com/index.php/events-and-shows/details/nadadada_motel/
 http://nytimesagency.com/preview/NTA2009062172208

I wanted to make a painting that was completely unexpected from people that don't know me and judge me by my outward appearance. Most people I imagine, see me as a housewife and mother over an artist. I wanted to make something that would fit both the critera of the show and to induce a reaction from the viewer. I would like to think that I covered both of these and I had a great deal of fun observing the reactions of those that came by the show this weekend. There were those that were initially shocked, then amused by the painting, others burst out laughing and my favourite; the ones that could not bear to look and siddled by either offended or just plain uncomfortable. It is nice to know that I can still make a controversial art piece!

I was unexpectedly interviewed during the show, by someone documenting Nada Dada 2010. True to form, I was lost for words and stage struck. I still can't remember what garbage poured out my mouth, but hopefully I can come back after this. Just goes to show that no matter how "in your face" my work can be, I am still an introvert when faced with an audience.

Friday, June 11, 2010

More of the snail

This might be the last update of the Nada Dada painting. It is 8 feet by 4 feet, so it is taking a long time to work. Next week I will add the " naughty Nada bit" so if you want to see it finished; come to the show!


- Posted using BlogPress from my iPhone

Tuesday, June 8, 2010

Naughty Nada Dada

I am working on a "naughty" painting for Nada Dada weekend in Reno.


This is the underpainting and below the next layer.


The background is from a photo I took in the Sierra Nevada mountains while camping.

Monday, June 7, 2010

Oxbow Press Opening Gala

The opening gala of Oxbow Press started last Friday, June 4th. We had a good turnout of people to come and view our new workshop and art studios.

I was demonstrating some relief printing and running one of the presses. A fellow resident artist, Isadoro Leon was printing T-shirts with one of his designs, the shirts are awesome and looked a lot of fun to make. The evening was a lot of fun and hopefully word will get out about Oxbow Press.

Saturday was an open studio day, I worked in my studio for a while starting a painting ready for Nada Dada which is mid-June.

Sunday


I attended a Printmaker's Conspiracy meeting in the studios where there was a mini critique of work and a general update on what the members have been doing in the last months. The group show will be up in Carson City all Summer. http://www.wnc.edu/news/2010-06-01a.php

After weeks of preparation, the printshop is now officially open and the presses are ready for action, yay!

My new studio at Oxbow Press

I have been mad, crazy, busy getting my studio together for the opening of Oxbow Press.


Here is my art lackey putting up walls.



Here are some more lackey's in training doing some jobs.






I have put some older paintings up to decorate the space







The day before the official opening my space was visited by a cricket. A definate good luck sign!

Monday, May 24, 2010

ATC cards

Something I like doing when I have the time, is to make Artist Trading Cards. In the few months, I have hosted 2 swaps and made many cards for swapping individually. They are quick and easy to make and are lots of fun to collect. Maybe you would like to make one for Beth's swap that I mentioned a few days ago.

What is an Artist Trading Card?


Artist Trading Cards (ATC) are mini works of art that artists collect and trade among themselves. By definition, ATCs are made in limited numbers, often no more than one of a kind. Unique ATCs are called originals. The general public have started collecting them, which has started to put a dollar value on cards, but they are meant to be traded ATC for ATC.

Artists often participate in international exhibitions of these cards (often with a simple theme, such as “purple”) to cheaply show their work and self promote. For the most part, they are art for art’s sake.


Guidelines for ATC cards:
1. They are always 3 1/2" X 2 ½.


2. Vertical format is the usual format, but not mandatory. If your creative juices say landscape - go for it!

3. Medium is open; card, glass, cloth, wood….anything that appeals. Our stamps from project 3 lend themselves well to this project. Try and keep the ATC thin enough for collectors to place into a business card type holder and sturdy enough that they will not flop. Playing cards make a good base as long as they are 3 ½ X 2 ½.

4. On the back of each handcrafted ATC, the artist writes or types part, or all of the following information: name, contact information, title of the ATC and number e.g.1/8, 2/8 if it's part of an edition or series of 8 similar cards or just “original”.


Video Demonstration:


Saturday, May 22, 2010

Happy 6th Birthday




My baby girl is turning 6!

Friday, May 21, 2010

Can you make an Artist's Trading Card?


Today I would like to honor an wonderful artist called Beth from a community I am attached to called Milliande.Art Community. I have been touched by her request and I hope I can help her in her goal.


Beth has been registered legally blind for many years and as her sight is decreasing she wishes to have one piece of her artwork traveling into as many countries on this Earth as possible .. a kind of legacy of her ability to see.

You know how I obsess about the flags on my map @_@, well, I would like to ask a special favour of all my visitors, ESPECIALLY those who live in countries outside of the UK and USA (I think there are many of us already participating although every state is wished for, so still participate!), if they would consider making an Artist Trading Card (ATC) to trade with Beth. I have been blessed with many visitors from all over the globe and I would love you to connect with me to do this together.

ATC's are artworks that are just 2 1/2" x 3 1/2" in size and made for trading with other artists. Their small size makes them quick and easy to make and you simply drop them in the mail to make your connection with an artist elsewhere. If you need more info on how to make one let me know.

**********************Here is Beth's request, I really hope that you will consider making an ATC to trade with her.**********************

As some of you know I am legally blind and will eventually go completely blind. There is no way to know when that will happen but I have had a decrease in vision over the last couple of years and am down to 1% of vison remaining.


So in light of that I have set myself a goal. Before the lights go out and I can no longer do my art, my lifes pleasure, I would like to have a little piece of my artwork all around the globe. I'm hoping to have at least one ATC in every continent of the globe to raise awareness about blindness. I need your help in reaching this goal.

Join me please by sending me an ATC card and your address (including the country please) and let me know you wish to have one of my cards and I will dilengently work to send you and or a friend an ATC with a description of my condition.

There is no deadline for this swap. If you would like to send me something like a bit of artsy stuff to help me keep creating, rather than an ATC card that would be awesome, but not required. All that I ask is that when you receive your ATC that you notify me that you've received it so that I can add your country and city to my list.

I appreciate all participation as this is a really important goal for me. The more countries the better my list.
Who knows? I've been asked if I would write a book about my goal and I may just do it if I reach it.
Thank you for your help. I look forward to getting the ball rolling.
Beth

UPDATE::::
I am also including the 50 states of the United States as well. So if you are in the US please add your name and address to the list.


Please send ATC cards or artsy notions to:

Beth Meador
2328 NW 46th St
Lawton, Oklahoma 73505 USA


I hope you can help me to help Beth!
Thank you!
Carole-Ann


As a thank you, I am offering this photo (Pink Flower) below free of copyright to anyone that wishes to download it. Please remember to reference my name if you publish it.


Pink Flower, 2010 by Carole-Ann Ricketts

Wednesday, May 19, 2010

Printmaker's Conspiracy Exhibition

My set of prints went off to Carson City today ready for hanging in the "Secret's Revealed" exhibition by members of Printmaker's Conspiracy.



I finished my etching of Lady Penelope riding an elephant just in time for the show. I hand tinted it with watercolours and printed with sangrine and black ink mixed.





I need to print off an edition of each of my prints when Oxbow press is open, then I can start on new work in this series.

Freaky River Cruise

This video is made by an assemblage artist whose work I admire called Michael deMeng. The Island of The Dolls is quite disturbing, yet intriguing, I won't say anymore as it might influence your thoughts. It definately gets the creative juices flowing though!

* Tin Can Tart (have we traded ATC cards recently?)... maybe you should start this going somewhere near Newnham-on-Severn (one of the world's freaky places in my book). Can you imagine sailing up on the Bore in a river of eels, to be greeted by the dolls?

Part 1




Part 2

Tuesday, May 18, 2010

10 Days until Oxbow Press Opens!

The race is on to get everything finished in time for Oxbow Press' big opening. The clock is ticking to get everything complete and hopefully we will have a good looking print workshop to show our guests and new members.

We put the walls up in my studio space and I have been priming them today. I had the help (is that the right word?) of my kids and hubby in the wall construction and so far they are still standing!

The door painting is now finished (yes, it IS supposed to look " aged and rugged"), and just awaiting the logo.

I have to find some more prints to frame for the opening and hand-tint them. I would also like to find some paintings to hang, but I am not sure I have anything I can find in time.

On the home front, I have two birthday parties to arrange for my daughters, the first is coming up on Saturday. Timing is tricky as another daughter has two birthday sleepovers in succession this weekend and yet another daughter has another birthday sleepover the night before. I wish my social life was half as interesting as theirs!

Sunday, May 16, 2010

Ink Your Heart Out Reno

Sad as it seems, the community press-time at TMCC is now over. We had our final work critique and studio clean up last week. I miss my collegues already, but hopefully they will all be joining me for press-time at Oxbow Press.

I have framed up my prints for the Printmaker's Conspiracy show "Secret's Revealed" that will be exhibited from May to September in Carson City. I am looking forward to seeing how my new prints look hung in a gallery.

Sunday, May 9, 2010

Sanvean

Sierra Nevada Camping

We have somehow fallen into a tradition of camping for Mother's Day Weekend. Far be it from me to shake a tradition (although a weekend spa retreat would also be a good tradition for Mother's Day), we headed into the Sierra Nevada mountains not far from Truckee, for a chilly, but beautiful trip.

Although it was cold at night, we did not face Donner Party conditions. In fact we had the comforts of heating, a microwave and flat screen TV, so the conditions were very different from Donner Party. We did party for Mother's Day, but no chargrilled camp members were eaten at our party. All in all, I guess the cold and stiff aching bones in the morning was not as bad a deal as I first thought.

 My awesome girls.
I took lots of photos, not exactly Ansel Adams quality, but I want to share a couple of them anyway.
Mornings are rough!

Thursday, May 6, 2010

Encaustic Revisited

I found a demo that describes in pictures what I tried to say in words. This is far more effective. I don't have the plans on how to make a hotbox, but I know that it involves finding heat bulbs and that it is important to have anodized aluminum (which is pretty pricey).

I have seen people learn how to use this technique by working on a pancake griddle. Walmart currently have two flat griddles that are $19 and $35 according to the size you want. The surface is just like you would find on a frying pan. I have been thinking that if you buy an indoor grill, you could buy a small sheet of the anodized aluminum to make sure you have that smooth finish as we see on the movie below.

Monday, May 3, 2010

Solar printmaking

My 5" x 7" keyhole print has been made using photopolymer printmaking, or solarplate. I used sanguine and black ink to print, then used muted watercolours to tint it. I will probably make 20 in total, one down...

The print is called "XXV. A Slight Glimpse Of San Francisco" and relates to Phileas Fogg retiring to his railway car in chapter 25 of Around The World In Eighty Days on his arrival to the West Coast of the USA. I adapted this to show Lady Penelope retiring for the evening after dinner.





Here is a clip showing a solarprint workshop with Dan Weldon.

Flying over Paris

I can't believe it is May already, how fast the year is going.

Here is my first finished print of Lady Penelope flying over Paris. I have used a number of etching techniques; Aquatint, spit-bite and drypoint. I am now pleased with the contrast, which had been difficult to achieve as I had some problems with the aquatint.

The print is called "III. Two First-Class Tickets To Paris". It is 7" x 8" and refers to chapter 3 in "Around The World In Eighty Days" by Jules Verne, where the characters travel through Paris. In the book, the journey is actually by train, in the film it was balloon. I used an airship balloon to satisfy my Steampunk heart. My very first flight anywhere was to Paris, so I absolutely felt the need to make it air travel.