Printmaking experiments

Some snapshots of a few of the prints I made during the printmaking course with Bev Truloff.

The prints in the first photograph, apart from the red collograph print, are gelatin prints. When I was told we were going to try this, I took a look on the internet to see what they were all about. I wasn't that interested in them, thought it might be a good thing to do with students. BUT when we started making these little prints the next morning I loved the process! You brush thin acrylic paint or watercolour on the gelatin plate, lay over the paper and press by hand. There is something about the fluidity of the medium on the gelatin...it is so different from using ink on a hard surface to print from. The grey print is the most liquid looking of the three in the photo, the others I'd laid paint on thickly in places to see the effect. I made a lot of these little prints, it was fun.

When I went to buy printmaking paper the shop had pretty much been cleaned out and the paper that I did buy had a texture on it that didn't lend itself very well to my printmaking. I've just bought some new paper so I'm hoping to get back to the collographs this week. The red and black prints are two collographs that I made, the red printed first and the black second. I've some ideas for exploring this idea further. The green print is a probably a monoprint - I rolled the ink on the perspex plate, and then drew into the ink by laying over a paper drawing into which I'd cut lines. The coloured image in the same photo is a mixed media monoprint with watercolour and oil based ink.

My painting for the NZ Art Guild 2008 collaborate project

Participating artists were each sent a board prepainted (in this case cadmium red medium) on which to create - mine is an acrylic painting based on an image I am working with at present in a variety of media.

Each of these boards will be put together to create one large artwork which will be exhibited in the annual NZ Art Guild exhibition at the Bruce Mason Centre in Auckland, in July. At the conclusion of the exhibition the artwork will be auctioned with a 20% of the profit being donated to charity.

The project does have a title and theme but I'll write about that later when the painting has gone on exhibition.

Life drawing - 16 April 2008

These are the longer drawings from last night's class.

The first is done with a red chalk pencil on white cartridge paper - the pencil is more waxy than chalky. I wasn't too happy with this one. I don't know what happened with the shoulder on the left (as viewing the screen). Either the model moved, or I didn't get my initial drawing in right because when I came back to that part of the drawing I had no idea what went where! Then while the hips more or less indicate where the weight is I haven't really captured that with the legs, and her legs and feet are a bit small, especially compared to the head! The model herself liked the drawing, though, and I'll give it to her later.

The red, black and white is again on white cartridge paper - black compressed charcoal and red soft pastel.

And the last drawing is done on white cartridge paper with a thick graphite lead in a holder. I decided to do a cropped composition this time. I always try to get everything in and I thought it would be good to select just part of the model to draw.

I'd have liked to draw the hair in, all the lights and darks, but there wasn't time. Maybe I'll work on it later, or take it to paint.

Life Drawing Wednesday 16 April 2008

These are the first drawings from last night's life drawing group. The class is for two hours in the evening. We're lucky enough to have the tutor provide easels, back boards, clips, and even paper and conte and charcoal to buy at cheap rates if we don't have our own.

There were a few short poses of a couple of minutes - those are the coloured pastel drawings on black building paper - then longer poses of between 10 and 15 minutes I think. I was quite rough with the soft pastel, blocking in shapes using the side of the pastel, then roughly drawing in some line on top.

There is one drawing on brown paper, in compressed black, sienna and white media. That was a difficult pose to capture. Actually there was no negative space between the left arm (as viewed on the screen) and her body, but I kind of wanted the pose more balanced. The foreshortened body was difficult. The collar bones were fantastic - I didn't get those finished.