Another full day in the Print Studio at Sion Hill. On this occasion I had prepared some preliminary sketches for reference. As there was very little choice in plate size I decided to use acetate as a plate to work on and cut this to size 8" x 18" to be used in a horizontal or vertical format. The acetate responded entirely differently to the zinc plate when applying the oil printing ink with it sliding on the surface. The ink was rather thick and claggy so I added linseed oil to thin - rather too much. The consequence was on running through the press some ink spread beyond the original line on the first print. I perceive the tree as placed too centrally and the print rather weak in density and variation of line. It did however, portray the sense of water below the surface and being absorbed into the roots. The Celtic Ogham Oak Divination symbol was introduced within the root system but I had forgotten that it would be reversed in the printing process! This first print was laboured and again worked to the edges - the root system also referenced peacock plumage!
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The image below was based on a combination of two previous sketches. I enjoyed the spontaneity and expressive mark making techniques employed. Some lovely textures but felt that I should have created more pure space - again I filled the whole page and perhaps provided too much information.
Taking a section and rotating the image presented a more dynamic and interesting composition as can be seen below. There are strong contrasts both in tone and mark making with an effective use of repetitive shapes and lines.
The following image referenced a photograph/sketch of the trunk of a tree which had become hollow Water had collected and then overflowed down the trunk, staining it in dark streaks. The image was successful in its variety of tones and marks but then presented itself as referencing flowers!
The two sections taken from the above image, once again, provide more engaging and thought provoking imagery in particular the right hand image which offers an effective use of varying shapes, space and contrast. This is more what I am aiming for.
The image below was created very quickly with the minimum of effort. One brush was used in a swirling method and then ink lifted out and the Ogham symbol introduced (reversed!)
Less is more and I felt a stronger response to these images.
In this instance I felt the complete image was a more effective composition with the work not going to every edge.
Referencing a brush and ink sketch of oak flowers and leaves I produced a quick and final image of the day. The complete plate was inked up and then utilizing various methods areas of ink were removed to create this rather representational, decorative and romantic image. (Turpentine creates some very beautiful textures). Again, I feel there is too much information and I have worked to whole of the surface - this is an approach that appears to be rather entrenched and I feel needs addressing. It is a slow process getting to know materials and how they react on different surfaces. There is a long way to go, lots more practice and experimenting to producing work that has an integrity and resonates with my aims and objectives. Often, I feel that I am not sure what it is I am wanting to produce and it is only be continuing to engage in the process that it will be eventually revealed. The Print Studio offers a huge variety of printing techniques and I am asking questions as to whether other processes may offer more appropriate and conducive approaches to making work.
Below is a sections showing the effect of turpentine splashed onto the ink.
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