Earlier this year I signed up to take part in Pay it Forward. It took a while but my books are now safely with Jack and Alison. (I haven't heard from Ersi and her blog has been quiet for a few months. If you are reading this Ersi I hope you are OK).
It started life as a response to the theme of Holes on Artists Books 3.0 but I decided it worked better on a smaller scale than the prescribed dimensions for that swop.
I think it is best described as the Hungry Caterpillar (apologies to Eric Carle) meets the Bard.
Tuesday, 18 November 2014
Or alternatively sponge print it...
It’s that time of year again. This year the drama club Christmas production is Wizard of Oz.
TV shows such as the X Factor have had on audience numbers we are now putting our Christmas show on in the last weekend of November to avoid a clash.
This means that on Saturday we have the dress rehearsal. Which means all spare moments are spent making scenery, costume and props (why did I think it would be a good idea to machine quilt the tin man).
This means all other creative work has to be parked for the time being.
I leave you with the head of Oz (nearly five feet high for the back of the stage)
Wednesday, 5 November 2014
And one I don’t possess in great quantity.
I did cut and fold the risograph print to make a zine. Although this particular piece is rather garish, and there are mistakes in the separation/layering, as an exercise in learning about the machine I think it was worth it and I would like to investigate locating one that I can get access to push this further.
Now back to patience. I have already posted the images of eight pieces of plate with a peel n blue resist applied ready to produce two different four colour etchings. To save time I decided it would be a good idea to bite them all at the same time and then do a major printing session.
When I came to print I realised that the plates weren’t properly degreased. The copper sulphate had bitten into the exposed aluminium at random just giving deep spots across the plate. Any detail I managed to get was coming from the resist which I’d left on the plate (it’s really difficult to remove but does seem to print OK – usually!) but it is so shallow that I cannot get any depth of colour from it.
The red plate printed best and you can see some detail (and the red spots from the deeper etch)
The two coloured version gives a vague idea of what I’m trying to do but it is too pale and looses a lot of the detail. (The light I'm taking these photos in isn't helping either)
With eight ruined plates and no way to rescue them I think I’ll go back to gum arabic again for this image.