Absence from my blog since the spring

Hatty Cove - Pukaskwa National Park

watercolour

08/2019

Lake Superior Shoreline study

watercolour

10/2019

                                        





To those of you who follow this blog, you will have noticed an absence of posts since the spring of this year. This has been due to ongoing health issues and learning what these allow me to accomplish in terms of my creative pursuits.

With some idea now of what I am dealing with plus encouragement from partner, family & friends I have been able to adapt somewhat and engage in less strenuous endeavours in the studio.                                
Unfortunately anything printmaking related took a bit of a back seat to painting for the past several months. However I noticed I began to really miss working in mediums like relief printing. I am currently working on completing a few watercolour studies and hope to make time after New Year's to return to some of the print techniques I really enjoy. I decided that linocut would be a logical choice and believe I should be able to take my time and carve/print some new blocks.  Seated activities like this seem to be a much more comfortable and although a bit more time might elapse to achieve the finished goal it is reaching that final goal of a new print on paper that drives me.

I would like to take this opportunity to give a sincere heartfelt Thank You to those followers who have been patient and understanding during my absence. 

I wish all of you a merry holiday season and all the best in your lives and pursuits in the New Year!

miniature mix media prints - landscapes

Near Rossport

polymer plate etching with hand colour

2019

print image size: 4 x 7 cm (1.5 x 2.75 inches)

You might notice that the image at the beginning of this blog entry bears a similarity to a work featured in my last blog entry. That previous image was a colour linoleum block print. You would be right because it is very similar in fact. I adapted the same view and composition using a different printmaking methodology. It is also  about 1/10th scale in size and is therefore officially a miniature.  It also incorporates hand colouring to become an original mix media work on paper. (intaglio print & painting).

The sketch I made for my lino was scanned and reduced in size. I then printed it using black inkjet ink onto clear film. This was then exposed using a fine dot aquatint screen and UV light onto a small pre-cut piece of polymer plate (solar plate) that I had rounded the corners using a metal file. 

The image was etched into the plate surface by exposure to the light. Gentle scrubbing with a toothbrush and using tepid water removed surface area to reveal the image. I exposed the plate again (without the film) to UV to harden the polymer for good.





Black oil based etching ink (cranfield safewash) was wiped into the shallow recessed etched areas and I then put 250 gm weight cotton rag paper over the plate. A lot of pressure was applied by running it under the roller of a small etching press which transferred the image to the paper. The printed image is then secured to a board using moistened paper tape (also used for watercolour painting) and set aside in a warm space to dry (up to a week or more duration) 

print on paper and the plate from which it originates. Notice how the image is in reverse on the plate.

Once the etching ink dries I apply colour into the print using washes of thinned liquid acrylic inks with synthetic taklon brushes. The paper is then cut to size with the bottom leaving a deckle tear edge created by folding over a special ruler with a rough tooth.

The resulting print with colour. Each print on paper is different because of differences produced during the painting application. 






My plan is to continue with this same format in a series of miniature prints that are based on landscapes found around the region where I live.

Mix media - drawing, plate etching and painting

 Canoe Trip 

close up of the final work on paper with 

 watercolour and acrylic ink applied

 into the print using a brush

In 2009 I created a work titled Canoe Trip that began as a pencil sketch. I converted the sketch to a plate etching. This was possible by using a light sensitive polymer coated thin metal plate. I made a high res. scan from the sketch and then printed it in grayscale onto a clear inkjet transparency. Additional details and elements were incorporated by using technical pen and thinned washes of black tusche and water onto the film.

I exposed the film positive onto a solar plate in two stages. First I pre-exposed a fine dot screen onto the surface of the thin metal polymer coated plate for about 3 minutes under an home made exposure unit consisting of 4 rows of UV emitting black light. The half tone screen (aquatint screen) that I placed on top under a piece of clear glass would allow variations in tonality from the sketch to be captured onto the plate surface. I then followed this with a 3 min exposure of the actual inkjet transparency. 

I developed the plate using lukewarm water and gentle scrubbing with a soft bristle toothbrush post exposure. The plate was hardened by post exposing it once again under the UV blacklight.

Oil based etching ink was applied to the plate surface and wiped into the etched surface of the polymer. Damp 250 gm cotton rag printmaking paper was placed over top of the plate and was then printed on my small etching press by hand turning the wheel to move the press bed under a tightly set top roller.

the single colour print on rag paper. I secured the print onto a piece 

of smooth  masonite board using gum adhesive butcher's tape.

I started to paint colour into the print using washes of fine watercolour pigments. 

Below are some of the brands that I like to use for my painting applications. These are in tubes and my palette includes Fragonard from France, Daniel Smith and Da Vinci manufactured in the USA.

I also applied thinned out washes of liquid acrylic inks made by UK company Daler-Rowney. These gave me a bit more intense colour when I thinned them with water and applied it to the print.

the cloud shapes were blocked out with masking frisket. It was carefully removed by rubbing with my finger tip once the washes that define the blue of the sky had dried.

early stages of mapping in colour using watercolour paints

A close up showing the interplay of the transparent layers of colour media applied into the etching.

The final result from the marriage of pencil sketch, plate etching and painting.

More hand coloured polymer plate etching

Bobcats

etching with hand colouring

B. Holden 2014 ©

In my last post I featured a photo I had taken of a pair of Bobcats and exposed as a grayscale inkjet transparency positive onto a polymer plate. The plate was developed, the surface hardened permanently, had ink wiped onto it's surface and was printed into a white cotton rag paper.
I had some time this past weekend to sit down and apply hand colouring into the print. This was accomplished using a bit of water thinned Daler-Rowney liquid acrylic inks and brush in layers of washes. I am pleased with the overall results. It is pretty close to the original colour photo.

Bee and Fireweed 

etching with hand colour

B. Holden  2014 ©

The photo above is a small polymer plate etching printed on rag paper that has been hand coloured. It is a close up study of a honey bee on the blossom of Fireweed, a plant that is quite common here in Northwestern Ontario along roadsides and in fields from mid July until Sept.

This began as a pen and ink sketch made onto wet media Duralar plastic film. I added washes of black tusche ink for a little tonal variation.

The plate was pre-exposed to an aquatint screen and then I lay the positive over top and exposed it for an equal amount of time. I developed the plate in a tray a water and then hardened the plate surface with UV. The photos below show the positive artwork on film and the resulting print made using Caligo carbon black safewash etching ink onto Maidstone 250 gm cotton rag paper.

I taped the print to a thin mdf board with gum adhesive butchers tape.  Colour was added using washes of several Windsor-Newton watercolours followed by washes of Daler-Rowney acrylic inks.

Elementary School Art - Canadian Symbols - Watercolour paintings Grade 5

totem study in landscape

The results of several visits I made during the months of April and May to a grade 5 class at St. Martin Jr. Catholic Elementary school in Thunder Bay. The theme being explored in the paintings is Canadian Symbols.
Students first researched to acquire images which they then translated into pencil sketches. These were transferred onto the 140 lb cold press cotton rag paper that was taped down onto core-plast boards.
They were shown examples of paint application and a few watercolour techniques that included wet into wet, dry brush, bleeding, softening edges, removing paint using sponges and application of highlights and finer details into dried painted areas. The project used Reeves student grade tube watercolours and 2 sizes of synthetic sable brushes.

Bluenose

Maple tree

ice hockey

Grizzly

Mounted Police

Camping

Parliament buildings Ottawa

  

 CN tower Toronto

Moose

Black bear

Orca pod

Loon

Beaver lodge

Grizzly Bear and salmon

inukshuk and northern lights

Drypoint on acrylic plate with added hand coloring

Southern Ontario Farmland

drypoint with hand color

varied open edition

Brian Holden

copyright 2012

I have been producing a few new miniature size prints in preparation for another solo exhibition of my work this coming summer. This show will feature only small size printmaking from my studio that utilize various techniques in their creation.
The above study could actually be labelled mix media since watercolor painting was an additional process I used to add color to the image. The plate size is 7 x 12.5 cm (2.75 x 5 inches). I don't imagine I'll be able to print too many images from the plate as the plexiglass usually only yields a small number of good impressions before the line deteriorates.
As for the process I made a sketch on paper using a photo I had taken a couple years back when I visited this region as reference and laid a piece of clear non-glare plexiglass over top. Using my sketch as a guide I worked into the surface of the acrylic using a steel carbide needle and also a small diamond tip stylus.
Then oil based etching ink was wiped into the recessed lines and the plate was printed into soaked and blotted 250 gm rag paper. I taped the paper to a piece of thin hardboard with butchers tape and let it dry. Watercolor was then added.
The landscape is a view of farmland on a hillside that is part of a river valley in an area of Southern Ontario very close to where my father and mother reside. I also spent some time during my childhood in this region and used to fish and swim in this river as a lad.

Elementary School Art - Relief prints and Collagraphs

Grade five students printing blocks using a baby press with my assistance

 student carving eco-karve material block

 students construct collagraph plates and print them using the press

 example of collagraph print and plate by a grade five student

 Just wrapped up several visits into two elementary school classrooms in placements through our Community Arts and Heritage Education project.

One grade five class learned to carve and print a relief block in black ink then add colour in after using watercolour.

The other class, a grade four/five split constructed low relief collage plates using everyday common materials and recycled items destined for the trash bin.

Both grades explored the themes of ancient civilizations. The block prints are exclusively Eygptian influence where the collagraphs explored ancient roman, greek, eygptian and chinese cultures of old.

For the collagraph print project students used Akua Intaglio inks with blending medium which were painted, wiped and rolled onto the plates.

The final works on paper were presented to the public this past week in a display at our local community auditorium. Below are examples of student work and also photos taken of the display.

Hosting a Monotype workshop

Giving a demonstration showing the application of watercolour onto Dura-lar wet media film 

Last Saturday I had the honour of conducting a workshop in Monotype printmaking for 14 enthusiastic members from Lakehead Visual Arts, a club I have been a member of since the mid 1980s.

I had been approached a while back by the club to see if I could give some type of printmaking activity that members could do in a one day session and that wouldn't be too expensive for supplies.

We explored two methods. The morning was spent working on subtractive monotypes using oil based etching ink that was rolled out on plexiglass plates from a brayer. The artists used a variety of tools including bamboo skewers, pieces of paper, tissue, blending sticks to remove ink from their plates. These were then printed onto soaked and blotted cotton rag paper using an etching press.

subtractive monotype by R.Vilim ã

working into the ink covered plexi to remove ink

the resulting print in reverse on paper after being pulled through
 the etching press onto damp cotton rag paper

subtractive monotype swine study by R. McKenzie





assisting one of the participants run a plate through the press

The second method we explored during the afternoon session was additive monotypes. Participants were given a piece of clear wet media Dura-lar film. They were able to put sketches and/or photos under it to use a painting guide. The wet media film allows washes and thicker applications of paints such as watercolour, gouache, createx monotype inks, and also acrylic paint and ink.
By placing dampened paper over top and using either hand burnishing with a tool or by running the film and paper through the press a transfer is made onto the paper. The painted medium can be dry or wet. If it is dry the damp paper will reactivate it. If you print onto dry paper you can apply a light misting of water to the plate or paper to facilitate activation of the media and allow transfer.

watercolour transfer by G. Postans made from Dura-lar

onto rag paper using the table top etching press

Since nearly everyone in this club are painters I thought that monotype would hold appeal, especially for the additive type where one can apply paint on a flat surface and transfer it in reverse onto paper.

watercolour monotype by R. Vilim ã

watercolour monotype by S. Bishop ã

participants working on their plates