Here is my artists proof (AP) of the Stockport Exchange etching featuring the railway station which I printed this afternoon at Prospect Studios.
Six acid bites were used to achieve the first Etching Aquatint print.
A blog about Stockport landmarks by artist/printmaker Neil Robinson which follows a printmaking project depicting the diverse architectural styles of my hometown both new and old.
Here is my artists proof (AP) of the Stockport Exchange etching featuring the railway station which I printed this afternoon at Prospect Studios.
Six acid bites were used to achieve the first Etching Aquatint print.
On Saturday, I resumed work on my project by starting a new print taken from a recent sketch of the newly built Stockport Exchange and also the refurbished exterior of the train station.
Proof print attached. I hope to produce some more etchings of this area in the near future for the project.
Here is my latest etching aquatint print of ‘Tiviot Dale Railway’ that I created yesterday from sketches and reference photos depicting the once active railway line and station. If you look closely, the print shows what has become of the area with a motorway and the new shopping development of Redrock. This print completes a set of three prints showing Stockport’s past.
Size: 25 x 11 cms
My etching aquatint prints are now on display at the following local businesses in Stockport;
Turners Art Shop, 76 Wellington Road South, Stockport.
Framed Art, 297 Buxton Road, Stockport.
I along with over twenty other artist printmakers have been given the privilege to exhibit artwork at the Longitude Art Gallery in Clitheroe, Lancashire until Thursday 30th March 2017.
Please go to: www.thelongitudegallery.co.uk
Look out for my new dry point print which forms part of the Feared & Farcial Futures exhibition opening this month. I will also be selling a selection of etching aquatint prints and handmade cards at the Bury Art Museum shop from Friday 28th February to Saturday 20th May 2017.
Thanks to Alan Birch for organising.
Poster courtesy of Bury Art Museum
Yesterday, I was working on one of my last prints for this year which was my long awaited Lowry print. As you can see from the photos, after I had burnt on the aquatint resin, I then stopped out areas of the plate using a circuit board pen which is great for small detail. Applying stop out prevents certain areas from being etched by the acid (usually areas to leave white). I then repeat the acid bath process over a number of times know as “bites”. Depending on the time the plate is bathed in the acid and the strength of the solution to water, you get various tonal affects. Lighter tones usually only take a few seconds; darker tones take longer.
“Lowry in Stockport” (Etching aquatint print) 25 x 11 cms – printed on Fabriano paper.
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