I have been busy in the studio trying to get everything ready for the exhibition .... time seems to be racing. Though much of the work I am presenting is not printmaking, I could not let this opportunity pass without some representation of my favourite medium.
As well as my 'tidings of magpies' which I am now editioning, there will be an edition of this book titled 'hunting and gathering'. This book consists of four etchings (and embossings of course) bound together with perspex hinges in concertina form. This is the first time I have used this method and was quite excited by the results. Being one of those very difficult to photograph books, the photos below give an impression rather than the experience of reading the book.
These plates were rather complex - been bitten in acid four or five times to give different degrees of aquatint texture and also different layers of fine line etching. Had I been more focussed I could probably have reduced this 'biting' but I just didn't seem to be able to work everything out simultaneously!
The etchings are printed on Fabriano Tiepolo 290 gsm which is a favourite of mine. The plates were inked using three colours and by warming the plates the colours were blended and a small amount of plate tone was left. I had thought to add chine cole but felt it would detract from the line work and obscure some of the detail. My first proofs were made on rusted and inked papers and though the bolder lines were visible, the fine details were completely lost.
In this photograph you can see the reflection of the first etching through the cover. Both front and back covers are perspex which I have sanded, leaving a couple of windows or peep holes through which to view the from image more clearly. I used this technique in one of the collaborative books I made with Fiona, 'epitaph'. I will use it more in the future I am sure.
Yummo!
ReplyDeleteMany thanks Jo :-)
ReplyDeleteHi SB - so much thought and detail - looks a great outcome - look forward to seeing it in the 'the flesh'. B
ReplyDeleteThanks Barry. Think this one tells a good story.
DeleteAnother wonderful outcome! Looking forward to seeing it standing...
ReplyDeleteThanks F. Would like to say that any outcome at this point is a good one but you know that is not true - neither of us would be putting working forward if we weren't pleased with it!
Deletesuch beautiful marks
ReplyDeleteThanks Mo. I really love the 'sugar lift' process in the etching arsenal. It gives a lovely looseness to the marks and some serendipitous marks too. I have a done a few layers of sugar lift and aquatint - not but choice initially but because I was not getting the result I wanted. Now I see that the repetition of process is actually quite interesting in its result, I will do more like this intentionally.
DeleteHello Susan ~ I am just loving the effect of the etching & embossing here (as well as in the last collaboration/edition that you & Fiona have done)...they really do make a beautiful contrast for one another. That so many of your artist's books are "experiences" as much as books also really appeals to me, and while I imagine that to be able to sit with the books in person is even more satisfying, I do find the photos to be very evocative & inspiring. Beautiful work!
ReplyDeleteGood luck finishing your preparations for the exhibition...
It is a lovely marriage Lisa - etching and embossing. I think the thing that most draw's Fiona and me to the artists' book, is that the artwork is experienced in such a different way. On a wall, everything is revealed at once. In a book, the slow reveal is tantalising. Thanks for the good wishes. x
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