We were lucky enough to have a critique in July with Ruth Barrett-Danes and she advised me to work more onto paper, perhaps in book form as my background is in Book Arts, and to collect some quotes from studio users. I wanted to add some text to my images, but have been a bit foxed as to how to get comments….So, to this end I have a series of questions for studio visitors to ponder:
What is your favourite ink colour, tool, or piece of equipment?
What has been the best mistake you ever made?
What is your favourite part of the printmaking process?
Any comments can be noted on the poster in the studio, so you simply have to come to Ochre!
Taking Ruth’s comments to heart, I have started working on paper. Initially I made a lino print composition of Nigel Hills who I drew back in January.
Printing this made me realise that I would really benefit from Richenda Court’s course – this is a regular course over four weeks which often attracts those who have a project in mind, it is so useful to have a professional to advise and also gain input and inspiration from other members of the group. It’s a friendly, relaxed session, and it inspired me to have a go at cutting up a lino block and printing it in ‘jigsaw’ sections.
The central block shows the ‘naked’ lino, and I have learned that it is super tricky to cut a hand shape (on the left, it’s actually Alison Roche’s hand!) and then slot it into the negative shape without smudging the ink a bit. I loved mixing the colours for this!
I might have a go at block printing some of these sections onto fabric.
The other technique I have explored is drypoint, this time starting out with environment card.
This is a pocket shape which may well be a paper apron. I also had a go at printing it onto silk, with less success – it needed more ink.
These paper aprons will be framed large prints – I may just frame the blocks themselves as I think they’re more interesting.