Lockdown printing

This work started before lockdown, but was only completed well into that time here in England. A multiblock linocut on Chinese rice paper that I called Dance of Hope. The central figure is in the Nataraja pose against a Sikkimese endless knot. This was a Bhudist symbol we saw everywhere in Sikkim in February, a time which seems a life time ago, but was only earlier this year. Hand burnished with a wooden spoon, this is the largest print I have made to date. Until I put the final black layer on, I thought it was a complete failure, the colours just didn’t contrast enough. But with the black it just worked. I only produced about five as hand burnishing is really slow and the paper is very fragile.

One copy is framed at the top of our stairs.

White line woodblock

Another new technique for me. I went to a one day workshop at Ardington School of Craft run by Beth Jenkins on the American technique of white line woodblock printing. It was intended to be a simplified form of Japanese woodblock, requiring just one block for the whole image, using watercolour and gouache as the print medium. It is really also closely related to mosaic and stained glass techniques.

Each area of colour is outlined by a gouged groove, the white lines, and then the area flooded with watercolour and the image transferred to thin paper by hand burnishing. Only a small area can be done at one time, so the paper and block need to be kept in register the whole time. Only one print at a time can be produced, and all will be different in colour. You can have indefinite print runs.

My first block, based on a photo I took off razor bills at St Abbs Head. The block itself is beautiful at the end.

I’m working on a second print in my studio. A roosting kittiwake I sketched at Dunbar. Still working out the best colour scheme.

Back to printing

I haven’t printed for a while, so decided to have a go at creating a print from one of the sketches I did out on the Bass Rock.

I redrew the selected part of the sketch, adding a bit here and there. Then transferred this in reverse to a lime wood block and started carving a basic key block drawing. I’ve had this lime for years and wanted to use it. Lovely to work in, but a tendency for unintended bits to chip out.

I took a couple of proofs onto cartridge paper, and coloured it up to get an idea of the finished work. I decided to cut out the hatched shading. Not sure now that was the best idea.

I cut two more blocks for head and pebble colours and shading. I used lino simply because I didn’t have any more lime. I’ve proofed the three blocks onto Somerset paper. Quite pleased with the outcome, but the are several tweaks to the carving needed before I do a final edition. I think I’ll run off about 10.

A long love affair with a drawing

Just over two years ago I produced one of my favourite drawings at a life class. I called her Neuroscience because she actually was a neuroscientist, taking a gap, working at an art centre between finishing her bachelor’s degree and starting her master’s.

I love the relaxed pose and the thoughtful expression. I’ve put her into an exhibition and was relieved that she didn’t sell. I don’t really want to part with her.

I’ve based more works on this image than any other I have done. The first was a mixed media work, with rectangles of handmade paper pasted onto a canvas and then over-painted with acrylic.

There was no plan to this image, I had no idea what I was going to do, but I loved the outcome. With a great imaginative flair, I called her Neuroscience 2. She hangs in our bathroom, which seems appropriate for a nude.

Next I tried a pastel on pastel board. Quite a different effect and I love the colour, but it’s not my favourite of the series. Yes, Neuroscience 3…

After that I discovered relief printing for the first time, and a version of my girl was one of my first linocuts, and still one of my favourites. I’ve tried her in various colours and with modifications to the block, which is one of the pleasures of printing. Yup, Neuroscience 4.

I let her lie for a long while after that, but recently she returned, in a very grand way. I’ve become obsessed with graphite pencil drawing over the last few weeks. After a variety of still lifes and copies of photos and paintings, I thought it was time to give my girl another outing. This time I thought I would exploit the potential of pencil for intricate detail to give her a complete figure and some sort of context. It all got a bit out of hand because you can keep modifying pencil if you use good paper. I added and subtracted all sorts of elements, including a large Indian bronze bowl, which eventually bit the dust.

Below is the finished image, with some of the development work below. I needed a new title, so I think she is now the Queen of the Nudists. She’s hanging over my drawing board.