A stack of four views in the main exhibition space of my show at the Sayle gallery. This is the last week to see the work, so be sure to visit before closing time on Sunday
Exhibition details:-
ORIGINALS Print Exhibition 1st – 24th May 2009.
Open: Tue-Sat 10am-5pm Sun 1:30pm-4:30pm
Sayle Gallery, Villa Marina Colonnade, Douglas. IM1 2HN
Tel- 01624 674557 Email- saylegallery@manx.net
‘Cliff Top Trees, Glen Maye’ Monotype 400 x 400 mm (image size)
One of my personal favourites. The light blissfully burning away the solidity of the trees at the top, then filtering through the filigree of foliage, finishing with the cliff face all shaggy ferns and ivy. Has a lot to do with the feel of descending into the atmosphere of Glen Maye.
‘Waterfall Caught Branch, Glen Maye’ Monotype 400 x 400 mm
The close in view gives this print a more abstract feel. The blistering white of the turbulence caused by the central rock and it’s subsequently caught branch contrast well with the dark surrounding rock and the pool beyond. This framing focuses the composition on the energy of the water coruscating with vitality.
‘Sea-spray, Seascape’ Monotype 400 x 400 mm (image size)
The silvery lightness of the sea works well with the crashing foam as one wave subsides into the path of another. The strata of the black rocks look like pages of the island carved in stone, lichen punctuating the velvety black.
‘Rock Pool 2′ Monotype 400 x 400 mm (image size)
I like the contrast of the black heavy rock and dark pooling of the centre wrapped around with silvery grey stone. All of this interlaced with the sparkle of light on water. A micro cosmos at play in a rock pool.
These are just four of the 30 monotypes in the exhibition. To see them ‘in the flesh’ and more visit the Sayle gallery, details:-
ORIGINALS Print Exhibition 1st – 24th May 2009.
Sayle Gallery, Villa Marina Colonnade, Douglas. IM1 2HN
Tel- 01624 674557 Email- saylegallery@manx.net
Open: Tue-Sat 10am-5pm Sun 1:30pm-4:30pm
“Digital Watercolour” is a term I am using to describe a method of making original prints using paintbox software.
The starting point for me is a watercolour sketch. This is scanned into the digital environment of a painting program. This sketch gives a great ground which I then paint into with gusto, adding, softening, blotting, strengthening, highlighting.. the list is endless. All my usual artistic skills come to bare in this medium.
The print is then printed with archival paper and inks using a professional inkjet printer. The prints fulfill their “original” status by the fact that they are not facsimilie reproductions of other works. I have been asked many times if the “original painting” is for sale. Sorry folks, these prints only exist as original prints, 1/10.
The programs I use are ‘Painter’ and ‘Photoshop’, essentials in any contemporary artists tool box. I have an interesting use for ‘Illustrator’ looming. I’ll have to get a handle on vector graphics for that though!
The digital watercolours I have in the show are well documented on the site in the posts:-
Autumnal Magic (November 6th, 2007)
A Little Gathering of Sunlit Buildings (November 6th, 2007)
The following images are the latest digital watercolours to be added.
‘Rusty Roof, Cregneash’
‘Tree Tumbled Wall, East baldwin’
‘Tree, East Baldwin Valley’ (Also referred to as “Tree and Sky, East Baldwin Valley” )
My Digital Watercolour Prints are:-
* Limited edition of 1/10. Numbered and signed in pencil by artist.
* Artist emboss/chop stamped on border.
* Pigment ink on archival, acid free German etching paper.
* A3+ paper size.
Screenprints are made using stencils applied to stretched mesh screens, through which ink is squeegeed onto the paper. Colours are built up layer upon layer to produce a print of bold graphic effect.
Stencils can be made very simply using paper. Elaborate photographic images can also be used to create stencils. In this case a photo emulsion coating is applied to the mesh and left to dry. The screen is then exposed to UV. Where the black lines of the art work block the UV the areas are uncured and can then be washed away leaving a stencil to print through.
The techniques I use can be found in the book ‘Screenprinting, The complete water-based system’ by Robert Adam and Carol Robertson.
The book ‘Waterbased Screenprinting’ by Steve Hoskins is also very useful.
‘Sea Shore Cell Phone’ Limited edition 1/14.
This very battered Nokia has lost its number cover revealing the rubber pads beneath. The circular microphone area at the top has a very retro walkie-talkie feel. A good find on a trip to the beach.
The colours were printed using paper stencils, whilst the phone was a photographic image transferred to the screen using photo emulsion techniques and a UV lightbox.
The same image printed onto glass can be found in the Contemporary Glass section via the ‘Gallery’ area.
This image was printed in reverse on the back of the glass so when viewed through the glass it would read the right way around. The ink used was a vitreous pigment mixed with a screen printing medium. Using a glass kiln the ink was fired into the glass. In the way the image is sunk just below the surface, making it indelible, it is similar to a tattoo.
Etching is a more widely known printing technique. I use acrylic resist etching (ARE) techniques. This replaces the old wax/varnish resists with modern user friendly acrylic versions. The principle is the same though. A metal plate, in my case copper is coated with a resist which I then draw into using a variety of tools, exposing the metal to be etched.
The acid creates recessed lines which when inked up will produce a print range from stridently bold to ephemerally delicate. Tones are created by the density of lines and cross hatching techniques.
Aquatint gives me tonal effects and is used hand in hand with etching. An aquatint using ARE is achieved by spraying a fine acrylic mist onto the plate using an airbrush. A ‘peak linen style’ folding magnifier is used to examine the fine dot coating on the surface of the plate. The dots want to leave a satin finish 50/50 glint of metal/resist.
The acid bites through the fine mesh of dots in timed stages, stop-out resist is applied to areas as they reach the desired tone, this protects them from further bite. The tones are predicted by referencing a previously printed guide made from a timed stage bitten aquatinted plate.
The longer the metal is exposed to the acid the darker the tone.These elaborate techniques become in time second nature and help create the special atmosphere associated with the medium.
The photo-resists I use are applied as a UV light sensitive film adhered to the copper plate. This is then exposed to UV light. Half the exposure time is given to the aquatint screen (to achieve tonal variation) and half to the image positive acetate.
The positive image can be created by drawing and painting directly onto plastic sheet or a photographic image printed onto acetate. Combining these two techniques produces strong results.
I create an image on acetate/plastic sheet that blocks the UV light from hardening the photopolymer film beneath. The exposed areas are cured by the UV creating a tough acrylic resist . When developed in a bath of dilute caustic soda the unhardened coating lifts away exposing the metal.The exposed metal can then be bitten by the acid to create the printing plate.
The ARE techniques outlined above are explained in depth, step by step in the excellent Thames and Hudson book ‘Intaglio’ by Robert Adam and Carol Robertson.
Fisherman’s Friend
1 x Battered Pkt
Limited Edition of 1/10
Monotypes are made using a blank bevel edged printing plate to which I apply an oil based printing ink by rolling, painting, drawing and sponging on the surface. This extensive additive/subtractive process continues until the image begins to emerge and can then be refined to the point at which I am ready to print.
The plate is then run through an etching press at slightly less pressure than taking a print from an etched plate. This is due to the dampened paper lifting the ink from the surface rather than from the recesses of an etched plate.
Once through the press the blankets are rolled back, tissue lifted away and the printing paper peeled up to reveal the print. A dramatic moment of truth, has the print been realised?
The technique of monotyping as the name implies is a printing process of which only 1 print may be produced. There is no going back to try again, these prints are truly limited (1/1).
The monotype depicted below is entitled ‘Crashing Waves’. It is a view from the coast between Port Grenaugh and Santon Gorge on the Island. In the show I have produced several monotypes from this beautiful stretch of coastline.
First of a set of posts about the show I am having at the Sayle Gallery in Douglas. The exhibition is the first solo show I have had since my residency days at the Courtyard gallery 2001-2.
It is also the first time I have had a major show, 51 works, entirely comprised of original prints.
The term “original print” denotes a print work created within a particular printing medium; as opposed to a reproduction which is a facsimile work initially created in a non print based medium. In this body of work five different print mediums are used to create the pieces, Monotype, Etching, Aquatint, Screen print and Digital.
ORIGINALS Print Exhibition 1st – 24th May 2009.
Sayle Gallery, Villa Marina Colonnade, Douglas. IM1 2HN
Tel- 01624 674557 Email- saylegallery@manx.net
Open: Tue-Sat 10am-5pm Sun 1:30pm-4:30pm
All 11 new prints from the previous two posts are now available through the post. Each print is £65 + P&P. It’s cheque only, so please contact and we can arrange the details of the order.
‘Rocks, Ballaglass Glen’
‘Bridge, Ballaglass Glen’
‘Waterfall Montpelier Glen, Druidale’
‘Tree Bole, Ballaglass’
‘Tree, East Baldwin Valley’
‘Old Church Building, North Shore Road, Ramsey’
‘Cafe Mooragh Park, Ramsey’
‘Old Building, Scarlett’
‘Peel Castle’
‘Blue Gate’
‘Point of Ayre Lighthouse’
Prints are:-
* Limited edition of 1/10. Numbered and signed in pencil by artist.
* Artist emboss/chop stamped on border.
* Pigment ink on archival, acid free German etching paper.
* A3+ paper size.
* Price £65 + P&P – (£1 local IoM, £2 UK, £6 RoW.)
The print is gently rolled to post in a tough, plastic capped postal tube, 4″ dia. To order please contact.
The first of two posts showing the prints that will be available from the exhibition at The Artist; please see previous post for details.
To Start with we have ‘Rocks, Ballaglass Glen’, a powerful evocation of lower Ballaglass. The light filtering through to the smouldering colour of a bank awash with leaves. Ravishing autumnal glory, never fails to delight.
Next up comes ‘Bridge, Ballaglass Glen’ a perennial favourite in terms of subject matter. The gorgeous trudge through the glen is neatly topped off by the visit to see the bridge and its attendant boulders, trees and shaggy ivy, all giving witness to the river in good flood after a heavy rain.
‘Waterfall Montpelier Glen, Druidale’ with its tangle of boughs leading us over the pool past the waterfall, on to the mellow light behind and back around again.
Back to Ballaglass for ‘Tree Bole, Ballaglass’. A close in view of the base of a tree trunk, nestled in to the cliff. All lichen smattered and mossy green lit brightly against the inky backdrop of the cliff behind. A picture for those folk that like their natural textures up close.
Last up is the ‘Tree, East Baldwin Valley’. Now this tree has more than a touch of Faery about it! A little of the Little Peoples faery glamour must have rubbed off onto my brush in this painting. The seasons transitions are all special. The wild winter, the joy of spring, a balmy summer but to me nothing beats autumn. The magic of autumn through and through is truly grist to the mill of this painter.
Prints are:-
* Limited edition of 1/10. Numbered and signed in pencil by artist.
* Artist emboss/chop stamped on border.
* Pigment ink on archival, acid free German etching paper.
* A3+ paper size.
* Price £65
The second and final post of the new prints available at ‘The Artist’ exhibition running from the 16th – 24th of November. Please see previous posts for details.
Up north for a start with ‘Old Church Building, North Shore Road, Ramsey’. This building really shines out with its pyramidal gable elevation. The side porch is almost like a curtailed tower; it may well have been designed to house/elevate a water tank. The white buttresses flanking the square of the doors painted blue make a great setting. It’s as if the building is a mould which the sky has been poured into. Even the ribbon of scruffy, bleached weeds that edge the pavement has a positive effect, running parallel with the yellow lines on the road. All this adds up to a dramatic symmetry of colour and composition. Great little building.
Next is the ‘Cafe Mooragh Park, Ramsey’. The same composition was used in a pastel painting “Deco Cafe at Mooragh Park, Ramsey”; described in the previous post ‘Peel and Ramsey Architectural Gems. June 12th, 2007′ :-
“This star of a building is sited next to the boating lake. Strong early morning sunlight setting off the juxtaposed curve and straight / round and square dynamic of this Deco design. Pristine contrast again the order of the day.”
Nothing much changed though the mixed media has brought out a different character, less pristine 50s retro feel. A little more grounded and real somehow.
‘Old Building, Scarlett’ is a much admired derelict. The lime rendered gable pitted to sublimely patinated beauty from centuries of rain, salt and sun is so mellow in this light. Not enough on its own but add the maps of old stucco, bleached sea of grass and briar lapping at a row of boarded up doors. Makes for a good picture in my books.
‘Peel Castle’ from Fennella Beach side. Such a wonderful building is no push over when getting a handle on it art wise. The red of the sandstone and ink green of the sea standout in this rendition. Brings good ruddy colour to the place some say could have been the court of King Arthur. Still, a jolly good castle whatever!
‘Blue Gate’ is a cottage on a little triangle of land between two lanes up behind Ballabeg. If you want to place it take a right off the road to Ronague, up past Ballamaddrell farm. The map puts it at the apex of the triangle made by the previously mentioned forking lanes of upper and lower Ballavarkish. There is no doubt a name for it, but ‘Blue Gate’ suits the picture fine.
Last but non the worse for it, looking pretty as a picture, all sweetness and light after a shower and good dose of sunshine is the ‘Point of Ayre Lighthouse’. Very fresh looking. Lighthouses are great. NLB rocks! Shame that automation has seen off the keepers though.
Well, that’s them. All the prints for a sneak preview as promised. Hope you like.
Prints are:-
* Limited edition of 1/10. Numbered and signed in pencil by artist.
* Artist emboss/chop stamped on border.
* Pigment ink on archival, acid free German etching paper.
* A3+ paper size.
* Price £65