I have just launched a new website/blog, Letterprep:
The site is a record of my attempt to find a method of documenting the wood letterpress typefaces available at Leicester Print Workshop in a way that will allow member artists to plan their work in advance of visiting the workshop. I hope it will also act as a tutorial for other workshops wishing to offer the same service to their members.
It was built using the Illustratr theme, with built in support for Portfolios. The Blog has backdated posts explaining work up to date and will hopefully be updated at least once a week with new work; the Portfolio will list all the wood letterpress fonts so far printed, scanned and turned into bitmap fonts and provide downloadable Photoshop and OpenType font files for artists to use.
A question on the Linocut Friends page of Facebook prompted me to document (for my own future use if nothing else) how I’d previously worked out how to plan a reduction linocut using ArtRage (on the iPad but now on my Surface Pro 3).
I wanted to look at ways of planning a reduction linocut using art apps on the computer. I’ve previously done some prep in ArtRage using a rubber as a cutting tool into different layers of colour; all without actually translating the work into a print though – will try that again some time. No, this time, I had the idea of translating a B&W photograph into the cuts required for a reduction linocut with 4-5 layers of grey.
I started with a b&w version of a photograph I’d taken in Byron Bay, Queensland, of some sort of lizard, about 70cm or 80cm long, sunning itself after a deluge on the roof just opposite my motel unit. I was really hoping he wasn’t going to try coming into my room even though the motel owner had said they were harmless.
Very late, but this is a quick post about my first, post-course, attempt at solar plate printmaking. Along the way, I made a lot of mistakes – expensive mistakes since each A4 plate costs about £11 – so I’ll list them up here at the top to help others who check this post.
A couple of months ago I did a course at Leicester Print Workshop on Solar Plate printmaking (aka Photopolymer printmaking and photo etching) with Nick Mobbs. I have only just now started doing my own such printmaking and thought, before posting work-in-progress reports, I’d post a couple of pics and a few notes from the course.
I visited Warwick University’s Mead Gallery yesterday to see the exhibition, Imagining a University: Fifty Years of The University of Warwick Art Collection, which closes on Sat 20th June.
Dianne Longley is one of those people with connections so extensive that it seems every printmaker in Australia knows her. When mentioning to Tess Edwards at Baldessin that I was from Adelaide, she told me that Dianne had had a studio there for many years but had recently moved and just this year opened a new studio at Trentham, north-east of Ballarat. I was lucky enough to find that Dianne would be able to see me on the day that I left Melbourne for Ballarat and so I turned up at Agave Print Studio on Friday 27th Feb.
I visited Melbourne’s Australian Print Workshop on Thursday 26th February and was shown around by technician, Chris Ingham. Sadly Dianne Shannon, Deputy Director: Business Operations, with whom I’d organised the visit, was tied up with auditors and only had time for a quick hello. Chris did an admirable job of filling in.
The workshop is in easy reach, along the route of the number 86 tram:
I visited the Firestation Print Studio on a sunny Wednesday 25th Feb, after figuring out the Melbourne tram system and which route was best for me to use (see transport info on the website here). The building presents a lovely frontage with its warm red brick and bright red arched doors:
I visited Baldessin Press Studio on Monday 23rd Feb, was greeted by Silvi Glattauer and then joined by Tess Edwards. Tess was married to George Baldessin, one of Australia’s most prominent artists in the 1970s. He and Tess built this studio for his etching work. An artist, printmaker and sculptor, he tragically died in 1978. Tess returned to the site in 2001 and restored it so that the studio could operate as a working memorial to George (see more here).
The studio takes a little finding: my satnav misdirected me slightly so if you visit, do use the satnav to get you to the area and Tess’ instructions for the final part of the journey. The last part is along an unpaved but easily passable road and the journey is very worth while. The bluestone construction nestles naturally amongst the surrounding eucalypts, various sculptures dotted around the grounds.
On my way from Canberra out to the coast, I stopped at Basil Hall Editions in Braidwood to meet Basil and talk to him about his work with remote indigenous artists and their communities. I arrived, was greeted by Pam, Basil’s wife, and was immediately invited to stay for lunch, which I accepted (good choice: they have the most amazing baker in the town making superb pies – Dojo) and then had a look around the studio with Basil.
Here’s the back of the studio, extended to the very edge of the property, with Basil standing in the lane next door: