I had a lovely time at the Westbury Arts Centre in Milton Keynes on Saturday.The Drypoint workshop was tutored by Susan Erskine- Jones. We began with a sketching and photography exercise in preparation for our Drypoint work. Here are a selection of photos I took out in the rambling garden of the farmhouse.
Here are the results: two plates and four prints. Enjoy!
Yesterday I indulged myself ccompletely. My inner creative child just loved inking up the two collagraph plates that I designed and made a couple of week ago. At this time of year there are lots of summer blooms to enjoy so I couldn’t resist making a collograph print. The plate was made from mounting board. I used wallpaper samples to get texture, netting, twine untwisted and teased out for the stem and lots of pva glue for subtle highlights to suggest the frailty of the petals of the Peony. Next I mixed vintage coloured inks. The photo above shows the plate after it had been inked and through the press.
Here’s the first result. The colours and detail came out well. I was pleased with the result (always difficult to show on a photo). My print was hand pressed on A3 Watercolour paper.
My next post will show my next collagraph. I hope you enjoy It.
Nigella waits wistfully for their
Lover’s tryst, sky blue eyes
Filled with tears.
Suddenly she sees him gallantly
Galloping and cloaked in sapphire sateen;
Her fears abating,
He appears out of the mist.
I adore the beautiful Nigella or the popular name for the flower ‘Love in the mist’. The flower not only inspired my photograph and my poem but also a simple potato print fabric design. I loved mixing ultramarine full bodied acrylic with white and fabric medium together to create a fresh ‘Love in the mist blue’. Potatoes aren’t the easiest veg to carve so I chose a primitive flower shape to give the essence of my Nigella. I printed it freehand on cotton fnabric and let it dry in the sun. It was just a test piece but great fun to do! I hope you like it. 🙂
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.