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.

Night prints

Here are my latest etching aquatint prints which have a night theme. The first print is of the 16th century Underbank Hall which is now a bank and the second print depicts Stockport Plaza, a 1930s cinema and variety theatre in the centre of Stockport.

Underbank Hall by Neil Robinson (Etching Aquatint) 2016
Underbank Hall by Neil Robinson (Etching Aquatint)

The Plaza by Neil Robinson (Etching Aquatint) 2016
The Plaza by Neil Robinson (Etching Aquatint)

Lino print (7th and final colour added)

Today, I added the final colour to my church print. I started by created a small print block from an off cut of Lino and cut away to get the shape of a cross to represent the St. George flag. I then used some oil based red printing ink and added some oil to soften the ink. Using a small roller, I gently applied the ink to the block. I then placed the block on top of each print and applied pressure using a barren with about 15 passes of the barren. Below is a photo of the finished relief print. I have learnt a lot by producing this Lino print and hope to produce more prints and improve my technique.