Monotype miniature book

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With a miniature art exhibition coming up, I decided to continue making monotypes, using the same approach I took in making larger works to make some miniatures. Using smaller stencils and a similar colour palette, I made a set of 16 prints, each 7 x 11 cm. Two of them happily stood alone, so I have framed them, and I decided I would like to make a miniature book out of some of the others. As usual, I went through a number of ideas and approaches before I decided on a concertina. I wanted to keep the torn edges of each print, so made a backing ¬†from a drypoint print, printed in ochre on brown paper (see below), then folded and glued 8 of the prints down. The imagery suggested to me the views you see in Central Australia – bright blue skies, red dirt and huge monolithic rock formations, so I have called it ‘Mapping the Road from East to West’. Once the book was made, I felt it needed more depth and intensity, so with some trepidation decided to overprint it using the drypoint plate that made the texture on the back. If it hadn’t worked, I would have had to abandon the whole thing, but all was well, and I think it has enhanced the imagery, and the sense of Central Australia.

Once the book was complete I made a tag to contain all the details (the colophon), then had to decide on how it would be held together, whether a box, or a tie of some kind. The final solution was to make a slip cover, open at both ends, like the cover on a box of matches, from two of the remaining prints.

The title of the exhibition is East Meets West in Miniature – this is open to broad interpretation, so I decided to make it where East meets West in Central Australia.

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The individual prints
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The book with slip cover. The colophon tag is just visible underneath.

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The back
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The book in its case, with the colophon
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The two individuals before they were framed.
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Monos and ghosts

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As the weeks go by, the monoprints are taking on a different character, becoming more representational but still have an abstract quality. Most of the forms are stencils, overlaid many times, with each layer responding to the previous one. I enjoy the serendipity and unplanned results, although I do plan the colour combinations with a degree of thoughtfulness.

I don’t clean the plate between layers, so residue from each application of ink remains and informs the following layers. Once I am satisfied that a print is complete sometimes I take a ghost print, which is simply the remnants of ink – some parts will continue to transfer, others will be exhausted. Below is a ghost print that initially was made after I sprayed water on the plate, intending to clean it, then decided to take another print. More layers were then added on top.

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The last image shows a set of 6 postcard sized prints which were placed randomly on the plate that produced the top image. Each one is complete in itself, but they also work together as a set.

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Stencil monoprints

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Each week’s printmaking session leads to the next. The stencilled birds have been an element for some time now, so I decided to use the stencil idea for more forms. The idea for this print stemmed from thinking about Central Australia, its desert landscape and massive red rocks, also the spindly, twisted black trees that are often found there. The result is not really like Central Australia, but still has an Australian landscape feel.

As the layers built, I re-used some of the stencils I had made previously. To apply the shapes to my acrylic printing plate I use a roller to apply thin layers of ink, often turning the stencils over, so excess ink then transfers to the plate as well, which is how the dark green tree forms appeared. I had not intended them to be trees, but clearly, that is what they are. The interesting textures appeared by a lack of care as much as anything else – when I finished printmaking last week, I piled the stencils into a plastic bag. This then adhered temporarily to the inky side of the stencil, making crumpled patterns, and thus was transferred to the plate when I pressed down with the roller. I love the serendipitous results of this method – it doesn’t work every time, but the good surprises make it worthwhile!

To make the stencils I used Yupo, which is a thin, plastic-like medium, like paper but shiny and non-absorbent. (I sometimes use it to draw on with Liquid Pencil, as it pools in interesting ways.) I simply draw the shapes I want on, then cut them out with a sharp blade.

Below are details of the above print, and also images of the first layer.

Rogues Gallery 2

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Last year I made a small book of drawings of early twentieth century criminals, (see here) using images inspired by photos from the Police and Justice Museum in Sydney, and now I’m continuing the theme, but with larger drawings. Every face tells a story – some aggressive, some cocky, some dapper, others beaten down and sad.

Photographs of some Sydney criminals were taken in an almost casual way between about 1910 and 1930, some sitting, others slouching against a wall with their hands in their pockets before more formal mug shots came into use. It seems that these photos were quite random, not all criminals were photographed, some were named and their stories can be found, others were quite anonymous, but to me every one of these has a story written on his (or her, there are women too) face.

There is a book published by Sydney Living Museums which has a lot of these photos, and this is what I have used as my inspiration. I have not tried to copy the photos too accurately, but I’ve tried to gain an essence of who these people were.

Each drawing is 15 cm square, on Arches watercolour paper, drawn using water-soluble graphite. I do a loose sketch with an HB pencil, wet it with a brush to get in some tones, then when it is dry work into it more with a 4B pencil, wet it again, and so on till I’m satisfied.

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Before and After

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This is the result of drawing into one of my monoprints – the top image is the untouched monoprint and the lower is the enhanced version. In some areas I have added a lot of detail, in others I have left the original marks almost untouched. Overall, I have tried to bring the image together, to create a unified whole that tells a story. Its the kind of thing where I could keep working in to it, maybe I will, but for now I think it is done. Using coloured pencils in a limited range of tertiary colours leaves the monoprint colours intact below. However, it may end up being divided into smaller pieces, so that the eye can focus on more contained areas.

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Detail.

The overall image is about 43 x 34 cm.

Desert Morning

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The monoprints are continuing, still offering surprises. This one will be going into an exhibition in the next couple of weeks. Like the previous ones, this is the result of much layering, texture and tone being added each time. It is possible to see embossing in some of the lighter areas, created by paper ribbon and strings of raffia. I can see forms in this that can be interpreted in many ways, every viewer will have a different take on it, but I have given it the title of Desert Morning as this is what the colours and the transparency of light suggested to me. In the Australian deserts, such as the Simpson, the range of colours are astonishing, and every sand dune is patterned with marking from animals, insects, reptiles and grasses, and the marks I have unknowingly created resonate with the patterns found out there.

This print is 40 x 30 cm, using Schminke water-based inks on Magnani Corona paper.

More monoprints

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The monoprints are taking on a life of their own. When I started doing these it was with the intention of using them as a base for drawing into, but as I have become more confident with the process they are starting to stand alone. Layering has been a key ingredient in the progression, adding depth and intricacy. Each time I peel back the paper after a pass through the press I am surprised at the changes that appear.

Random additional elements, such as pieces of raffia, string, textured paper ribbon, fabric and so on add another series of forms. Once colour has been added to these, they can be re-used to offset that colour back onto the image. Stencils have added another level of interest. I cut bird shapes from a piece of stencil paper and applied them in different ways. Adding a recognisable shape has changed the character of the image, now they have gone from completely abstract images to more of a landscape, or something reminiscent of a map or aerial image. The tertiary, earthy colours that I have been using – usually a mix of about three colours – also help this feeling.

Something I am also finding is that I like the small elements of the images, in some cases more than the complete image, such as the above image which is about a quarter of the larger piece below, so I could end up cutting the images into a series of smaller pieces. (The paper I use is approximately 50 x 40 cm.)

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(Above) This is the complete image which includes the detail at the top.

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Two more details of the image.

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Two more full monoprints, made at the same time as the top one. There may be more layers added to these …