Slowly the leaves are crumbling under our feet or rotting into the ground, the cold snaps will return soon and autumn will be forgotten. In the studio I simply aimed to draw and mix the colours of the leaves which tumbled from the sky.
I hope you are all well. In the UK many of us have the home fires burning, casseroles and soups bubbling and we’re rushing about. I treat myself to Echinacea tea with a spoonful of local honey to keep colds and sore throats away.
These prints were very simple to produce. I used a foam material like ain apizza base to cut the design of the Chinese lanterns
Next you draw your design into the foam using a biro or pencil. Mix your coloured ink and roll on to your plate thinly. Put cartridge paper over the plate then with your print roller, roll up and down.Lift your paper gently off your printing plate and your image appears printed! Great fun, easy and can be done with children.
Hopefully here’s the link to my Brown hare cottage wp site where you can see my ‘Fox in a wood on a wintry night’ linocut print.
Time for me to stop playing and retreat to the Art Studio. I’ve done a few dahlia sketches, so time to cut my lino. This time I’ll do a single colour, burnt Umber relief printing ink. Here’s one I selected, printed on cartridge paper. I hope you like it!
My collagraph plate was inspired by one of the dead, old oak trees that I see on my walks through the Bedfordshire countryside: always silhouetted against the sky is one or more crows and ravens, congregating on the branches watching over the fields.
I used teased out string glued onto the mountboard to create tree bark and bird feathers. I created the branches out of textured wallpaper and made marks in it with a knife.
After the plate was varnished and dried with a hairdryer, it was time to ink up the plate using brushes. I wanted to create an atmospheric moonlit effect so I combined blues and used plenty of extender.
I hope you like the result. 🙂
The printed plate was hand pulled through an etching press. I used damp watercolour paper. Every collagraph print is different. I achieved a ghost print which was much lighter too.
To get a solar print, I drew my lovely seed heads from my garden, onto acetate with permanent black ink. The drawing is then transferred onto a light sensitive plate which is then exposed to UV light and then developed through tap water. It is very experimental as you try different exposures to get different effects. Once the plate has been dried in sunlight then it can be run through the press.
Ghost of stocks solar print
This one is my favourite. Can you find the fairy? This is my Arthur Rackham style ‘ghost’ solar print. The first print was much bolder so I decided to run the plate through the press again and I just love the antique effect.
Both of these prints were done at Susan Erskine- Jones’ s workshop. Thanks to Susan for sharing her skills and experience, it was a most enjoyable day.