Monday, December 20, 2010


Made a single solarplate today. Double exposure technique. Monotype with black ink onto thick acetate. Size 15cm x 21cm. Hahnemulle Soft White paper. Inked a la poupee with Blue/Black and Cadmium Red etching ink. Used Dan Welden's process. Think I may trim the border off though.

Title: Bent Double

Saturday, December 18, 2010


Now this is interesting. The aquatint screen overlaps the solarplate and so too does the transparency. Yet, he gets a great print. Methinks solarplate is a lot more forgiving than we are led to believe.

Wednesday, December 15, 2010

I learn something every day.

Yesterday was one of those days. I was all set to learn something new and what I learned was a revelation. Of course, it was to do with Printmaking. Solarplate in fact. That feeling of trepidation with Solarplate was there as usual and as I was trying something 'out there' the feeling was even scarier. So, I went for a really small plate. The aquatint screen was larger than the plate (evident at the bottom right corner) and the edges of the plate were a little curled, which is not exactly the best.

The print is an experiment,double exposure technique used. The Torelief plate was exposed in my exposure unit.

You might be saying: "So what?" The so what is that the image was drawn/painted/scraped onto an acetate film using Graphic Chemical Black Etching ink. Dried instantly with talc and exposed for 90 secs onto a plate which had been previously exposed to the aquatint screen for 90 secs.  Still "So what?" It is the way the plate has held the darkest dark areas and at the same time shows the different tonal qualities.

This plate is very small, but it has taught me much. Can't wait to get onto it with a larger plate.

Wednesday, December 8, 2010

Happier today.

Have spent the day looking at my collected textures and my woodcut blocks. There is a strange similarity apparent and my thought was that I would like to break the textures down even further. The prints produced today have given me the results I was after.

These are deconstructed screen prints produced from a woodcut. Can't explain it better than that. They are all on Printmaking paper.

Somehow, when the image is eroded more and more, the textures emerge stronger and stronger. It has been an exciting day.

Monday, December 6, 2010

Thinking of 2011

As I was cleaning my studio today, I started ruminating about what I might attempt in 2011. It has been helpful in the past for me to set myself some goals. As I am cutting back a little on my teaching, it is my intention to be in the studio a lot more often working on my own painting and printmaking.

Already, there are several engagements that I can think of which will come around very quickly.

January - A gelatin plate Printmaking Workshop which I will be conducting.
January - University of Tasmania - Summer School - The New Woodcut.
February - Beginners Etching Workshop which I will be conducting.
February - The Friday Printmakers classes commence.
March -  Frantically preparing for April.
April - Exhibiting at Gallery 135 with some Printmaking friends.
April - Attending Fibre Arts Deconstructed Screen Printing workshop with Kerr Grabowski from USA. A Printmaking friend is also attending, so it should be a great week.

Now that I have written all of this down I can start to decide on where I will go with my own work. It will, no doubt, centre around Landscape as it always does but I am totally in love with the landscape. So many times I hear "Go with what you love".

Recently whilst away in Queensland, I had an Andy Goldsworthy moment and constructed Mandalas on the beach at low tide. Each night, the tide would return and take back to the sea the work I had done during the day. I collected flotsam in the form of plastic and group the colours together to make low relief sculpture which I then photographed and then put in the recycle bin.

It is that sense of transient that I am relating to at present. Letting go of the work once produced to allow the exploration and construction of new, never before seen pieces.

This mandala was made entirely of sticks and seaweed pods.

This mandala was made of stones, sticks and Hoop Pine needles.

This was made using collected wood and the red pod is from an Hibiscus bush.

Blue plastic and bits and bobs collected from the beach.

And finally, all the yellow bits and pieces I could find on one day on the beach.

That sense of exploring new ground is truly wonderful.

Friday, December 3, 2010

Deconstructed Screen Printing

As I have just returned from a place where the geology was ancient, I have had the thought of erosion/weathering on my mind. As rainforest walks were involved, the imagery reflects my experiences. The prints produced from Deconstructed Screen Printing reiterate that feeling I had looking at the ancient landscape. Anyway, here they are. Please bear in mind that I am very new to this technique, but I am already learning a lot. The first print was produced using MX procion dyes mixed with sodium alginate thickener. The black lines have been applied to the screen using a squeeze bottle. The background came from the butcher's paper becoming wet under the screen. It was then dried and printed using a light yellow alginate mixture.

 With this technique, very delicate imagery can be produced, as above or more robust imagery as below.

 The delicate image below was produced by drawing directly onto the silkscreen using watersoluble pencils and crayons. Then I squeegeed clear sodium alginate over to release the image to the paper. You only get one or two images with this media.
 The image below was made by placing bubble wrap under the screen along with rubber bands. I then ran over the screen with the blue. Next i painted in the yellow and red. I then dried the screen. Finally I printed using clear alginate thickener.
 The following two prints were achieved by using a more painterly approach. I squeezed the dye/alginate black onto the screen using a squeeze bottle. I then painted in the colours using a foam brush. Then I squeegeed over with clear alginate.
 For me, this last two are getting to where I want to be with it.

All of these prints are on Printmaking paper, but of course would probably be even better if they were on fabric. Will wait and see.

Sunday, October 31, 2010

This week's efforts!

Seems like time is speeding up again. So much in my head to get out onto paper, but other things keep getting in the way. Nevertheless, I have managed to do a little bit of work this past week.

The first image shows bits and bobs of woodcuts that I achieved using the last of the ink from my editioning.

The second and third images are intaglio prints from a burnt shellac collagraph. There is an image of the plate further down the page.

This is another from the burnt shellac plate, hand coloured.

The plate:

The following image is a multi plate woodcut overprinted.

This image is a bleed print from the whole burnt shellac plate.

Another three reduction, multi plate woodcuts, overprinted.

An image from the shellac collagraph inked a la poupee with hand colouring.

Sunday, October 24, 2010

A Woodcut Edition

Since early this morning I have been working on a woodcut edition which will be part of a print exchange with my students.

1st State:

Grasses 2nd State: These have stencils brayered onto the plate then overprinted on first prints.

Grasses 3rd State: Blue grey rolled onto original block and overprinted 360 degree turn.

Now deciding whether I will go again with a darker colour. Will ruminate overnight on this and return tomorrow for another day in the studio.

Saturday, October 16, 2010

Another encaustic monotype

Seem to have wax running through my veins at present. This work is actually two pieces of work fused together. The title is 'Tribal Land'. The work is on Hosho paper.

Friday, October 15, 2010

Encaustic Monotypes

Have been waxing lyrical today. Am more and more enjoying the encaustic monotype experience and today I combined it with drawing and collage.

The first piece is on a full sheet of Hahnemulle paper with collaged monotypes with additional drawing in graphite pencil and oil pastel.

Below  is an encaustic monotype where stencils have been used. They are on Hosho Paper.

This is an encaustic monotype collage.

Tuesday, October 12, 2010

Learning Curve

It has been a while since I inked a collagraph plate and somehow it seems when beginning that I have forgotten everything I ever knew. But, thank goodness, after a few days of working away at it, everything came flooding back. The following images are all from the same plate. First image (top) is the actual plate inked up ready for printing. Second image is the plate printed onto encaustic. Last image is the plate printed onto Hahnemulle paper.

Saturday, October 9, 2010

Collagraph Day

Spent today working on some new collagraph plates. Although, the image you see is from an aluminium plate with drypoint and shellac burn. This was inked up a la poupee and printed onto dampened Dutch Etch 300gsm paper.

Am looking forward to a week in my studio and can't wait for the plaster plates I have made to dry. This should happen by tomorrow, then I can sand, seal and print from them then.

Although today, I seem to have water on my brain. It seems I think of water in the environment a lot lately. The aquifer is especially relevant at present as it is truly my belief that the water from this source should not be used by man but left for the environment. There, I've had my rant.

      Title: Bruised Aquifer - Aluminium plate with drypoint and shellac burn.

Here, the plate is above, the gold is the shellac burn. Printed onto Dutch Etch 300gsm in Prussian Blue as a bleed print.

Here are the plaster plates drying outside.

It is truly amazing what one can achieve in one uninterrupted day. Lovely!

Wednesday, September 29, 2010

Monday, September 27, 2010

Monoprints & Monotypes

Here is a link to some interesting prints of the unique kind. Well worth a look.

Saturday, September 25, 2010

Woodcut Workshop-Beeac

Gael, graciously sent me these images from a recent workshop I held at "The Artist is Home" which is a wonderful gallery/studio in the main street of Beeac (a small country town in Victoria).

The participants approached their task with an open mind and realised a finished print at the end of the day. In one day they carved the block, worked out a registration, rolled and printed their first colour, cut some stencils and rolled on another colour and finally, overprinted with a darker colour.

Here are some images of the workshop in progress: