RSPB Ribble Rediscovered Workshops
Over the last couple of weeks, myself and Richard Dawson (Arbarus) have been working on a series of creative workshops for our RSPB Ribble Rediscovered commission. Aimed at determining what wildlife and subjects should be included within the final pieces of sculpture, we worked with young people, the public and the brilliant RSPB volunteers making lots of brilliant artwork and chatting about the interesting wildlife that can be found on the Ribble Estuary, what the important and notable species are for the area and what lives in all that mud!
We did a special mud-dip workshop whereby we looked at the species that live in the mud and provide food for the thousands of birds that visit and live in the area. From this we created block prints of the hydrobia snails, crabs, rag worms and also the birds that eat them, making a brilliant frieze of artwork on brown paper.
We also rocked up to the 20 year anniversary event of the Ribble Discovery Centre and chatted to lots of knowledgeable people about the birds and wildlife found on the estuary. The three others artists involved in the commission were also there – Bryony Purvis, Rebecca Chesney and Sophy King.
Next job – design the final artwork ready for approval by the RSPB, the volunteers and steering group and Fylde Council…
Hot Bed Press ’20’ Exhibition
I’ve been lucky enough to be selected for the Hot Bed Press 20 Year anniversary exhibition. Held at Warrington Museum and Art Gallery, the exhibition features 20 artists selected from the printmaking studio’s members and runs from now until 16th September 2014.
Four of my screenprints were chosen to be part of the exhibition, including one that I’ve just completed. In the same style as my previous urban sketch screenprints but much larger, it shows the view from the top of Shudehill Car Park (see my earlier rant about views from car parks here). As I use paper stencils to get the background colours, printing this caused all sorts of problems due to the stencil warping and stretching over such a large area. However, I didn’t want to use photo screens for all parts of the artwork as it creates a final image that’s too perfect for me.
I was really pleased with the final piece especially once framed by the lovely and helpful ‘In the Picture Framing‘, who have just opened up in Woodend Mill in Mossley, where I have my studio.
Artists’ Proof Exhibition
My new series of screenprints are being exhibited at Bank Quay House in Warrington. Part of a group show, the Complete Printmakers from Hot Bed Press will be exhibiting alongside the Wrexham Regional Print Centre.
The exhibition runs from 4th April – 26th May 2014 at Bank Quay House, Sankey Street, Warrington, WA1 1NN. Go to their website for opening times and further details.
Manchester City Centre Screenprint
These photos show the different stages of creating this six colour screen print. All the layers except for the last one are paper stencils handcut by me. The greys only have a touch of burnt sienna and/or yellow ochre in to make them warm greys rather than a bluey, cold grey.
Drawings for screen printing
I’m going to use these drawings for a series of screenprints. I’ve started (and almost finished) the first one and after a few issues, have the next lot exposed and ready to be printed. I’m using paper stencils for the background colours, so everything is a bit ‘off’ on purpose – I didn’t want it to be perfect and consequently, end up looking like it had been Photoshopped…
I’m off to Hot Bed Press in Salford tomorrow to start on the second image – I’ll try to remember to take pictures to show each stage…
I’m also going to start on a bigger drawing of Manchester City Centre – at the same scale but to encompass more. I’ve been scouting around trying to take pictures from the tops of car parks but have so far been politely asked to remove myself from each one as I might hurt myself or something similar (?!). So remember everyone – taking a picture is MUCH more dangerous than parking your car. Seriously though – apparently I need to get permission from the owners first. I’ll let you know how I get on!
20:20 Print Exchange
The sorting for the 20:20 Print Exchange is happening this week. The 20:20 is a national print exchange organised by Hot Bed Press whereby printmakers from studios across the UK each submit an edition of 25 prints measuring 20cm x 20cm. The prints are then sorted and each participant gets a random selection of prints back. Last year over 300 people submitted prints – I won’t reveal how many people have entered this year but it’s a LOT more…
My 20:20 entry is a three colour screenprint entitled ‘Print Manufactury’, created from a drawing I did of the Hot Bed Press studio building. The base white colour and the blue door were both created using paper stencils cut from newsprint. The third and final layer of black was from a photo-emulsion screen.
Here’s the original drawing…
And here’s the final screenprint. I used Somerset Grey paper so I could apply a white background for the building. I wanted it to be a completely self-contained image on the paper so removed anything outside the building that might ground it – for example the pavements, streetlights and surrounding buildings.
The Complete Printmaker – Etching
I’ve been learning etching on my course at Hot Bed Press and I absolutely LOVE it. I’m quite surprised as I didn’t think it would be my thing but I think the quality of the line you get is beautiful and it’s very forgiving (especially to my drawings!).
Here’s the original photo I worked from – it’s a view of Manchester Town Hall from Charlotte Street.
Here’s a pencil drawing of the image. I’ll probably re-use this for some other prints – possibly drypoint and maybe a linocut. Note the miscalculation on the size of the Town Hall compared to the photo.
Here’s the first print from the etched plate. I was quite pleased with it apart from a few wonky bits where I’ve had to draw it back to front on the plate. Also, there is a lot of foul bite – the marks and scratches on the plate where there was damage to the hard ground – but I quite like this.
This is the same plate with aquatint. The only part of the print which should be white is the sky and a few details, so I was really disappointed that the buildings were so light. I obviously didn’t leave the plate in long enough on the first dip. But – first go – so not too bad!
Linocut – first attempt!
Here’s my first attempt at a linocut.., though to be honest, it was on japanese vinyl, which is a whole lot easier to cut. Next attempt is a reduction lino of the same image – hmmm – wish me luck!
It’s all gone course-tastic at Symons Towers
I’m busy doing two courses at the moment (see previous three posts) and am rushed off my feet trying to squeeze in all the work from the annual ‘its the end of the financial year and you have to finish this project now!’ rush. So blogs-a-plenty to come but for the meantime, I’m going to stick to what I’m doing on my two brilliant, if a bit disparate, courses: ‘Advanced Certificate in Garden Design’ and ‘The Complete Printmaker’.
Week Two and Three on The Complete Printmaker looked at Drypoint and Carborundum. I discovered a love of dremelling to make my drypoint plates. Here’s a couple I produced of some sea birds – the Avocet and the Sanderling. I’ll post the actual prints once they’ve dried off – they’re very similar (but the other way round!).
Being A Freelance Artist 