Prints on their way to Tennessee

My new mantra must be 'Don't put it off!' 

These prints have been in my head for at least a couple of months, and it's such a relief to get them finished and into the post - where right now they are winging their way across the deep blue sea, heading for Knoxville, Tennessee.

I decided to keep a log of the time spent making the work, mainly because I was beginning to feel that I'm working too slowly and I need to get a clearer picture of the time I will need to complete various projects for my degree show - in just 13 weeks time!!

So, no time for woolgathering.

I had to wait 3 days for the paper to dry after embossing it - it does take longer when it's being kept flat between boards, but this was longer than I'd anticipated.

Forty prints took me 3.5 hours to print, this is only five (ish) minutes per print - so considering each run through the press needs the block to be inked up, the plate and paper registered and then impressed that's not bad, and I now wonder why I deemed it such a long time.

Of course ink requires drying time - so only one colour per day. I could run a second colour but with so much 'white' space it would be all too easy to smudge something so I think it's worth the extra time. At least I know now to plan for that time.

The press in action, note my high tech registration technique . . . .

The second colour goes on. This is something I always feel hesitant about, especially if I like the first run through.

Third run through with the text and then a slow and careful session with the guillotine.

And after six days, forty prints signed and editioned ready for the post.

Phew 40 blind embossed prints = blisters!

At last, I've made a proper start on the Unicorn print exchange. The 1st state of 40 prints is now done. And not before time really, I should finish them by the weekend so as to get them off to Tennessee before the 1st of March.

Now I'm sitting down, it feels like I've had a work-out on the press today. It's pretty stiff going when the pressure is increased to make the embossing as crisp as possible on Boadicea. I'm sure my biceps will soon look like the Michelin man's plus, I'm now the proud owner of two blisters!

Anyhow, it beats going to the gym.

This means at least I've finished the blind emboss stage, and only have three stages to go.

the press in action

1st stage, this is a corner detail of the embossing

The view from the 'Shed'. 

The new girls keep me amused when I'm working and I need to keep an eye on them while they settle in because the old girls aren't too sure about these two, and keep on having a dig.

We haven't given either of them a name (yet), somehow naming them acts as a kind of sympathetic magic, which may alert Foxy to their existence. And we'd rather he didn't pay us another visit. . . . .

although of course, if he does, he'll be in for a shock - electric fencing is now in place.

Our two new hens. 

The hens are so funny, I do find watching them quite addictive.

Side by side they'll be quite happily pecking the ground. Then out of the blue, BAM a sudden and ferocious peck. These old girls are pretty dam speedy.

False Unicorn

I've been working on ideas for a print for a portfolio exchange, organised by Guen Montgomery and Emmy Lingscheit (both studying at the University of Tennessee) titled Unicorn. 

But it feels as if I've been going around in circles and getting nowhere fast, and I'm unhappy with anything I've made so far . . . . . not a good place to be.

 Drawing and re-drawing, printing and re-printing arrrrgh . . . .

However, yesterday I popped up to the V&A to see the Birgit Skiold exhibition 

Zen and the arts of print: Birgit Skiold and Japan. 

http://www.vam.ac.uk/exhibitions/index.html

http://www.birgitskiold.com/

The exhibition doesn't give us a lot, but what it does show is very telling of her work, which is so beautifully pared back. She was a pioneer, both in furthering the status of printmaking as art and for the experimentalism of her work and (more importantly for me) her use of blind embossing mixed with other techniques. 

   

Over the past couple of years I've experimented more with blind embossing and de-bossing, and using it with other techniques at the same time, so it's useful to see examples where other artists have tried this too. 

And it prompted me to return to some ideas I'd started this print with.

So! back to the drawing board - or in this case the lino block.