Graphical interpretations

As October draws to an end and the nights are getting shorter, I am writing this latest article on Halloween. Over the last few weeks, I have been busy documenting the last batch of print subjects of Stockport landmarks I need to complete the project. I’ve got a decent selection of images to use for future prints.

A few weeks ago, I attended a drawing and printmaking workshop in Stockport organised by Stockport Art Guild entitled ‘Graphic interpretation of Stockport landmarks combined with print’. The workshop was organised by the owner of the Art Club in Heaton Moor by former textiles designer Angela Lock.

I decided to create an artwork depicting the Plaza with a starry sky. The process involved creating landmarks drawn on cartridge paper in a simplistic monochromatic style. Once the drawing had been made, a larger piece of paper was then printed on using polystyrene thin sheets backed with card using water based ink. One of the printing blocks I used had a start pattern which I felt was a suitable background for the artwork.

After the event, I decided to donate my contribution to the gallery for all to see.

The finished results are shown in the photo below.

Finished artworks on display at Stockport War Memorial Art Gallery

One final note, congratulations to Prospect Studios which celebrated its 20th Anniversary last weekend.

Paper for lino printing

Japanese Simili paper sheets, 43cmx61cm, 80gsm, ivory white, acid-free, chlorine-free, with archival permanence, pliant, and suitable for lino, woodcuts and stencil printing.

Source: Greatart.co.uk
Price: £16.50

Lyme Park

Crowther Street

Lowry in Stockport

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.