Reblogging – Aquatint Using Hairspray

Great ‘how to’ article – reblogging: Aquatint Using Hairspray

from http://www.printingindahouse.wordpress.com

On aquatint using hair spray

by Debora Ando

 

I would like to introduce this method as an easier and more practical alternative to aquatint materials already in use in print studios and schools. Hair spray is a chemical product and therefore may cause allergies or reactions. For precaution wear adequate gear and designate an enclosed space where the hair spray can be handled avoiding spreading of the particles.

Materials for the aquatint using hair spray …….. ”

Continue reading article here – Aquatint Using Hairspray

 

 

Seeing Print Exhibitions and Sculpture on the Southbank 26/09/2015

Last weekend I went to see original prints on display at Bankside Gallery which was exhibiting work that was accepted for the National Original Print Competition  2015 (the exhibition has ended now). It was great to see such a varied collection of print techniques, styles and subject matter in one place. It was also a pleasure to see prints up close by printmakers I have found online through social networks; the nuances of texture, ink and paper surface get lost to some extent when digitised for web publication.

You can view and download for free the exhibition catalogue here: http://issuu.com/banksidegallery/docs/nope_catalogue

Here are my top three prints from the exhibition.

ContradictionLinocut2014AdeAdesina

‘Contradiction’, Linocut, Winner of the Hawthorn Printmaker Supplies Award by Ade Adesina http://www.adeadesina.com/prints.html

MelyvynEvansLastoftheWinterLightLinocut

Last of the Winter Light, Linocut with Copper Leaf by Melvyn Evans http://melvynevans.com

UrsulaLeechLeaftreeCarborundumHandcolouring

Leaftree, Carborundum and Handcolouring by Ursula Leech http://www.axisweb.org/p/ursulaleach/

 

Next door at the Tate Modern, on Level 4 in Artist Rooms they have hung a dynamic collection of George Baselitz prints from his ‘Gothic Maidens’ series and a huge linocut of his wife ‘Female Nude on a Kitchen Chair’. I was so glad I got to see this work, printing can be a laboured process, but these prints belie this with their spontaniety of line, and their vigor. These are fresh images that keep you looking.

[no title] 1995 Georg Baselitz born 1938 Purchased 1997 http://www.tate.org.uk/art/work/P77947

[no title] 1995 Georg Baselitz born 1938 Purchased 1997 http://www.tate.org.uk/art/work/P77947

[no title] 1995 Georg Baselitz born 1938 Purchased 1997 http://www.tate.org.uk/art/work/P77939

[no title] 1995 Georg Baselitz born 1938 Purchased 1997 http://www.tate.org.uk/art/work/P77939

[no title] 1995 Georg Baselitz born 1938 Purchased 1997 http://www.tate.org.uk/art/work/P77951

[no title] 1995 Georg Baselitz born 1938 Purchased 1997 http://www.tate.org.uk/art/work/P77951

Female Nude on a Kitchen Chair 1977-9 Georg Baselitz born 1938 Purchased 1984 http://www.tate.org.uk/art/work/P77011

Female Nude on a Kitchen Chair 1977-9 Georg Baselitz born 1938 Purchased 1984 http://www.tate.org.uk/art/work/P77011

 

Behind the Tate Modern, new sculptures had been placed around the three residential/commercial low rise buildings just off Sumner Street. The sculptures were human heads by the artist Emily Young, and they looked striking in situ.

StillnessBornOfHistoryII2012EmilyYoung

Stillness Born Of HistoryII, 2012, EmilyYoung http://www.emilyyoung.com

StillnessBornOfHistoryIIEmilyYoung2012cu

Stillness Born Of History II, EmilyYoung, 2012 http://www.emilyyoung.com

LargeBluePurbeckHead2012EmilyYoung

Large Blue Purbeck Head, 2012, EmilyYoung http://www.emilyyoung.com

MontAmiataWarrior2012EmilyYoung

Mont Amiata Warrior, 2012, EmilyYoung http://www.emilyyoung.com

Print of the Month – V&A Museum – 9 Jan – 30 June 2014

http://www.vam.ac.uk/whatson/event/3108/print-of-the-month-wwi-4500/

DISPLAY: Reims 1914 by Raoul Varin (1865-1943), Etching and aquatint, plate from Reims en ruines, published by Pommery & Greno, 1920. @ V&A Museum

Photography into Etching – Hand Colouring

I have finished a 3 day course on photo etching at City Lit taken over 3 weekends.

You can read about it here.

A couple of the prints with chine-collé weren’t working well, so I added some hand inking to see if I could get a more harmonious image. Have a look at the before and after photographs below.

AlhambraCourtyardBlueOrangehalf

Before:
Alhambra Courtyard Blue; Orange Chine-collé

AlhambraCourtyardBlueOrangehalfinked

After:
Alhambra Courtyard Blue; Orange Chine-collé
Orange & Green Ink Hand Colouring

AlhambraCourtyardRedOrange

Before:
Alhambra Courtyard Red; Orange Chine-collé

AlhambraCourtyardRedOrangeInked

After:
Alhambra Courtyard Blue; Orange Chine-collé
Blue, Orange & Green Ink Hand Colouring

(© Catherine Cronin)

What Do Artists Do All Day? Norman Ackroyd

There is a great little series on the BBC called ‘What Do Artists Do All Day?’; and there is a terrific one on Norman Ackroyd; a fascinating insight into his life and printmaking process.

If you are in the UK with access to BBC iPlayer, you have three days left to watch the 30min episode on Ackroyd:

http://www.bbc.co.uk/iplayer/episode/b01rd35q/What_Do_Artists_Do_All_Day_Norman_Ackroyd/

For everyone, the BBC web page for the series does include some clips from the episode:

http://www.bbc.co.uk/programmes/b01rjr1d/episodes/guide

Photography into Etching Day 3

I have finished a 3 day course on photo etching at City Lit taken over 3 weekends.

It was a fantastic course; a great group to work within and an excellent teacher Anne-Marie Foster.

On Day 1 we were introduced to the principles of photo etching; the three different techniques to get source material onto transparent acetate in readiness to expose to a prepared photopolymer plate. We produced a test plate and printed it to understand the process and how to get tones to print successfully. You can read about Day 1 here.

On Day 2 I prepared one of my own artworks in Photoshop for tonal photo etching; and printed test plates. You can read about Day 2 here.

Photo into Etching Day 3: The Final Prints

AlhambraFinalPlateweb

Alhambra Courtyard Final Plate

On Day 3 I wanted to try different ink colours, different paper, chine-collé, and maybe colour rolls. I didn’t have enough time to get to try all I wanted. Below are the various experiments and results. I intend to work further on some of the prints with inks; so more to come on that.

AlhambraCourtyardRed

Alhambra Courtyard Red

AlhambraCourtyardRedYellow

Alhambra Courtyard Red; Yellow Chine-collé

AlhambraCourtyardRedOrange

Alhambra Courtyard Red; Orange Chine-collé

AlhambraCourtyardRedSkyBush

Alhambra Courtyard Red; Blue & Green Chine-collé

AlhambraCourtyardBlue

Alhambra Courtyard Blue

AlhambraCourtyardBlueOrange

Alhambra Courtyard Blue; Orange Chine-collé

AlhambraCourtyardBlueOrangehalf

Alhambra Courtyard Blue; Orange Chine-collé

(© Catherine Cronin)

Photography into Etching Day 2

I am attending a 3 day course on photo etching at City Lit over 3 weekends.

On Day 1 we were introduced to the principles of photo etching; the three different techniques to get source material onto transparent acetate in readiness to expose to a prepared photopolymer plate. We produced a test plate and printed it to understand the process and how to get tones to print successfully. You can read about Day 1 here.

To photo-etch and print a tonal image successfully from my source photographs or original artwork, I have to introduce digitally texture, like ‘dots’ to the image (like a newspaper image is made up of dots), so that the image photo-exposes and acid etches these ‘dots’ as ‘pits’ to hold ink and so print a tonal image.

Photo into Etching Day 2: Source Image

First of all I wanted to find a really good tonal image so that I could fully get to grips with the Photoshop techniques required for adding texture to the different areas of tone. I found a tonal colour image that worked well in grayscale, but I felt it was a little boring, so I combined it with a line drawing I made of the same subject. Combined in Photoshop using ‘clone stamp’ tool, and ‘multiply’ option on new layers.

Alhambra Courtyard Colour

Alhambra Courtyard Graysacle © Catherine Cronin

Alhambra Courtyard Grayscale

Black pen sketch of Alhambra inner courtyard.

Alhambra Courtyard Line Drawing

Alhambra Courtyard Grayscale & Line Drawing Combined

Adding Texture to Tones in Source Image

The next step was to separate onto different layers the dark tones, midtones, light tones and white areas of my source image. Using the ‘magic wand’ tool I could make these specific selections of tonal values and copy to a new layer. To add texture to the tonal areas we would simply be applying the filter ‘noise’ to each tonal layer; the darker tones would require a higher value of ‘noise’ than the lighter tones. As I wanted areas to remain as white paper, I did not apply the ‘noise’ filter to my ‘white areas’ layer. See below for a close up of a section of my image for before and after ‘noise’ filter is added. It is a bit difficult to see the ‘texture’ below; in Photoshop when you view ‘actual pixels’ you can really see a difference.

Alhambra Courtyard Detail

Alhambra Courtyard Detail
AlhambraCourtyardnoisedetail

Alhambra Courtyard Detail With ‘Noise’ Filter

Once I was happy with my filter application I printed out the source image onto acetate and printed a test plate to see how the tones would print.

Alhambra Courtyard Acetate Test 1

AlhambraCourtyardTestPlate1web

Alhambra Courtyard Test Plate 1

It is hard to see in the images below but after my first print I felt I could add more ‘noise’ to the darker tones in my image and lessen the amount of ‘noise’ on the midtones i.e to make dark areas darker and midtones area lighter.

AlhambraTest1web

Alhambra Courtyard Test Print 1

I adjusted my image; printed onto acetate and printed a second test plate; which I think printed better than the first – though admittedly hard to see the difference on here.

AlhambraTest2web

Alhambra Courtyard Test Print 2

Anyway I managed to prepare a final printing plate from the 2nd acetate I prepared, so Day 3 will be spent in final proofing of the image; trying different ink colours, trying different paper, trying areas of chine-collé, and maybe trying colour rolls.

AlhambraFinalPlateweb

Alhambra Courtyard Final Plate

AlhambraFinalPlateCUweb

Alhambra Courtyard Final Plate Detail

(© Catherine Cronin)