Lino printing workshop

Early on in my efforts with relief printing, I attended a local course on the three colour lino print process.  My initial attempt wasn't very good and my clown ended up looking rather sinister, but rather than waste time cutting a new block I concentrated on getting to grips with the different cutting and inking stages, as well as exploring the varying ways the same print could be used.

My prints weren't good enough to be used for anything other than reference so I decided to write up some notes from the weekend and chose 18 slightly differing images, all bound into a Japanese style album. It has become a handy little reference book - I am sure I would have forgotten most of it otherwise.

This has been added to the Bookbinding page, where you can see other examples of my artists' books.

A selection of some of the prints

I cut out and removed the clown and balloons from the brown
paper and glued the background over the print on the painted mulberry paper*.
 (Unfortunately, this was not a good print, but I liked the
effect of using the two different papers in one image.)

The clown cut from the brown paper (above) was collaged onto
 this print on cream paper

Printing and painting papers

Just trying out my recent lino cut and splashing colour around.  This design was not at all pre-planned  and when I had finished cutting I decided to shape the edges of the block as well.  In future, if I plan to use a block as a repeat print I could try and make sure any curved edges fit together neatly.

Mulberry paper, printed with white gesso, then adding yellow, red and blue ink

Computer paper, gesso lino print, random acrylic inks,
silver acrylic foam stamp

White gesso on black paper, randomly applied acrylic inks,
metallic splatter

White gesso on masa paper, quin. gold fluid acrylic and walnut ink

Urban Sketchers June

We had glorious weather for our June sketch meeting today.  Our venue was the small Wiltshire town of Cricklade - the first town situated on the River Thames as it flows, from its source, towards London.  Just outside the town are the water meadows which are famous for an extensive display of snake's head fritillaries in April.  A previous post gives details of the artists' book I made about this beautiful wild flower location.

Today, most of us opted to sketch in the tranquil surroundings of St. Sampson's Church.

Trying out a suggestion by (Karen Stamper) which I recently found on on the internet, I pre-prepared two pages of my watercolour Moleskine.  Torn strips of masking tape, labels, etc. were added, followed by random washes of Indian ink, walnut ink, a little orange fluid acrylic and areas of white gesso scraped on with a credit card.

Some of the masking tape has been removed, but a couple of the labels
threatened to tear the paper surface, so they were left in place

I chose to record this corner of the churchyard

A somewhat messy outcome (and a missing gable window!),
but a fun experiment

I used a fine liner pen, burnt sienna watercolour marker, black Pentel brush pen, watercolour, white gouache and oil pastels.  I'm not sure I will adopt the masking tape and label idea, but the dark background encouraged me to be bolder with my sketching in an attempt to bring the image out of the chaos.

Lino printing

Last week our art group arranged and provided equipment for an introductory workshop on lino printing.  Members who had attended an earlier full day session with a printmaking tutor were on hand to help those unfamiliar with the process, as well as bringing along examples of their own work.

Several participants had either limited experience, or none at all, of the lino printing process and, despite the short time available (only 2 hours), were able to produce some satisfying results and went away encouraged to experiment further.

Members' work (photos courtesy of P. Kitching)

The supplies used were: Essdee Softcut blocks and lino cut tools, Fabriano Unica printing paper (plus old book pages and coloured paper), and Calico Safe Wash Relief Ink*.  Inking plates, registration boards, rollers and barren were loaned by members.

* A tip I have since learned about cleaning up the ink is to apply the liquid soap before adding water.

As I was organising the supplies and overseeing the printing stations, I didn't have time to complete my block on the evening, but finished it later at home.

Red poppy book

I made this fold book a couple of weeks ago.  I like the colours, I don't often use this red, my painted papers usually veer towards magenta or pink, but this red and gold seem to go well together.

I haven't decided on a recipient for this one yet and have just added a general greeting message inside for the moment - I might keep it in my sample box.

Hand-printed paper -finished size approx 4" x 5"

Personalised greetings can be inserted
in the inside pockets

Blizzard book

Gradually working through the book "The Art of the Fold" - this month's task was the Blizzard Book (Section 12, page 71).  The finished size is only 5.7 x 9 cm (credit card size), but for the sixteen pockets suggested you need a paper length of 90 cm.  Luckily I had a roll of brown wrapping paper which I decorated with handmade stamps before attempting the folding.

The slip case is made from thin card and I followed the instructions from this video.

I have since tied the enclosed booklet with ribbon and
added the collaged decoration to the cover
(this photo also gives a truer idea of the colour)

Urban Sketchers May meeting

Lots of people enjoying the sunny weather at Coate Water this morning. After chatting to Maureen, who came along from the radio station "Swindon 105.5" to interview some of the group, we dispersed to find sketching spots around the lake sheltered from the chilly wind.

The Diving Board - Coate Water Country Park
Pen, watercolour, gouache and white gel pen in the
Hahnemuhle cappucino sketchbook