Well, I've been participating in this Printmaking Studio for 21 months. So much time, but not a lot of exhibition-grade work. The reason for this? Firstly, commitment, clearing the way to make this day set in stone. This meant asking a few favours, and changing a day for one of my students, which, after 11 years, is probably fair enough.
Settling in, learning how to develop an art practice again. Settling in socially - exciting at first, especially as this facility is a new one, too. Meeting people, promoting the Centre have also been very much on the agenda. Learning new techniques, drypoint, collagraph, (learning to spell "collagraph"!) Revisiting linocut - although I spent my childhood doing this, more refined efforts now. Seeing others do multiple plates, and also seeing reduction linocut.
Working my way through producing anything of a high enough standard to make the grade. Exhibiting twice so far with this group, and also participating in a print exchange for the first time ever. Patience learnt, too, as you wait your turn in the print queue.
Now the biggest test of patience ever, modifying how I work. Physically somewhat compromised now, as I get the awful diagnosis of Osteo-Arthritis. Spine, shoulder, neck, leg, hip and arm, all affected. It had to be my drawing arm of course! I thought a large drypoint on copper was causing me a lot of pain and discomfort, now I know why.
So, modifying how I do things, shorter bursts of activity, and more rest breaks in between, a good excuse for a cuppa! Right now I love monoprints, just draw an image and print. Rich coloured water soluble oil pastels are proving a good medium, and as drawing is my strong point, this technique suits me. Less pressure applied as opposed to pushing tools over and over, repetition causes a problem.
Only one print can be made from a monoprint, though sometimes also a ghost (second print). I like the painterly effect, textured and interesting. Just seeing results of laying over a drypoint. They are a bit precious, as you can only get one. Copper sheet might be a good plate, and easy to clean off too. What are the best, plastic plates, or metal? Constant experimentation.
First attempts at encaustic collagraph, too. Had saved up a lot of cheese wax coating, and melted it, spooning it onto a plastic plate, recycled from packaging (not much goes to waste around this house!). The wax got so hot, it melted a plastic spoon and luckily I used a stainless steel frypan to hopefully clean off properly. After altering and scraping back, will probably shellac this plate as wax is so soft, and must think cleaning off too. Will not apply so thick a layer next time.
A very eclectic mix of people seem to be drawn to printmaking and so of course their artistic output is eclectic too. I get just as excited seeing other's process as my own. And, as well as the print projects, there is a good camerarderie as we all seem fond of flora and fauna, gardening and cooking.
by Michelle Mabbott
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