Hardwicke Bay. Not so hard.

Back yesterday from a 5 day stay at Hardwicke Bay on Yorke Peninsular. Lots of ideas for prints, long walks on the beach each day, a large brown snake taking up residence in bushes a metre from our front door(between us and the beach), a bushfire or burnoff across the bay and almost scarily quiet during the day. Just a few highlights.

hardwickeBayhardwickeBay2

Advertisements

Cool, cool, water.

I am currently working on etchings and linoprints for an upcoming exhibition in June -July this year. It is a group exhibition with two of my friends, both talented artists. More info will follow closer to the exhibition.
My contribution is images in which water is a major visual element. I have always found depicting water a challenge so this is an attempt to come to grips with that challenge.
The two main inspirations so far are the fishpond I have just outside my studio and pools or small bodies of water I am exploring in various places around Adelaide.
In both cases I have been influenced by various aspects of Japanese art.
These are the early sketches and idea developments some dating back to late last year.  I will post some final art as the exhibition gets closer.
SMXLL

 In the fish pond series I have been interested in working with a circle. A sort of in the pond and above the pond feeling has started to develop. There is also a bit of an idea of a world of its own surrounded by its own concrete cosmos. The pond is a quiet and relaxing part of my environment and hopefully the etchings will have that quality as well. They are also giving me the chance to explore some open bite techniques when etching the plate.
SMXLL

 The pool series are planned to be reduction lino prints exploring water surface and reflections etc. Simplified down to lines and flat areas of colour as in Japanese woodblock prints I am again hoping to create a visually interesting image that is quiet and peaceful. We shall see in time I quess.

Back to the lino printing

After a few weeks of nursing a cracked bone in my arm I’m finally able to get back to some linoprinting. Heaven. This is the first in a series of prints I’ve planned based on pools and reflections in the water. It is a four colour reduction linoprint 14cms x 12cms in size printed in an edition of 5. More of my lino prints can be seen on my website at www.martinart.com.au/lino-block-prints-shop

pool

A week sketching, I’ve got blisters on my fingers.

Have spent this week sorting out ideas for drawings and prints to go in some upcoming exhibitions this year. Here are a sample of the results.
Weeksketching2
 The drawings of a hillside/outcrop of rocks are in preparation for a drawing prize so there’s no guarantee I’ll make the finalists. I have a few more thoughts about composition, style and method to play with before a final decision on which to use.
The three pieces based on Japanese scolls are ideas and ‘practices’ at scroll construction for a local group exhibition. The works entered must have text incorporated in the work so I’m playing with a haiku poem to go along with the scroll format. I won’t embarrass myself by including what i’ve come up with so far.
The four colour sketches bottom right are ideas for lino prints which may be included in a series of works I am putting in a exhibition with two artists friends in June this year. Really looking forward to that exhibition.

 

Travels with my wife.

Ran across a sketchbook I took with me the last time my wife and I travelled overseas. Over two years ago now. Must be having fun because time has really flown since then.
Thought I’d share some of the drawings. Nice memories in these. All are drawn with felt/fibre tip pens and are on paper 21cms x 15cms in size.
Arles
Arles2LakeComoLakeComo2LuccaNiceOS4RomeVenice

Good art – gold.

“Ideas about ‘good art’ are not formed by themselves. They are the result of a complex system of patronage, ideology, money, and education supported by uni courses and museums all of which guide our sense of what makes a work of art worthy of attention.”  Alain de Botton
Sort of makes judging snowboarding in the Olympics seem simple.They just worry about tricks, execution and variety, and amplitude.
Here’s a print I have done. Feel free to judge it with either criteria.
119granite-island
 Granite Island. Reduction linoprint, 20cms x 13cms.

Monotypes, monoprints and me.

Over the past six months I have in my spare time been working with monotypes. In my ignorance I have always called them monotypes but I have just recently learned of the distinction between monotype and monoprint. Monotyping is a type of printmaking made by drawing or painting on a smooth, non-absorbent surface. The surface, or matrix, was historically a copper etching plate, but in contemporary work it can vary from zinc, glass cardboard, wood or acrylic glass. The image is then transferred onto a sheet of paper by pressing the two together, usually using a printing-press. Monotypes can also be created by inking an entire surface and then, using brushes or rags, removing ink to create a subtractive image, e.g. creating lights from a field of opaque colour. The inks used may be oil based or water based. With oil based inks, the paper may be dry, in which case the image has more contrast, or the paper may be damp, in which case the image has a 10 percent greater range of tones.Monotyping produces a unique print, or monotype; most of the ink is removed during the initial pressing. Although subsequent reprintings are sometimes possible, they differ greatly from the first print and are generally considered inferior. These prints from the original plate are called “ghost prints.” Stencils, watercolor, solvents, brushes, and other tools are often used to embellish a monotype print. Monotypes can be spontaneously executed and with no previous sketch.
Here are a couple of examples I have done using either a glass or cardboard matrix.
016Hillside-8022RockOutcrop5029Landscape7
I like this technique. There is a chance element which makes the process exciting and there is the experimental side where one image can be changed and manipulated by different inking, painting and drawing methods on the matrix.
Examples of this can be seen by clicking HERE
Historically, the terms monotype and monoprint were often used interchangeably. More recently, however, they have come to refer to two different, though similar, types of printmaking. Monoprints, now refers to the results of plates that have permanent features on them. Monoprints can be thought of as variations on a theme, with the theme resulting from some permanent features being found on the plate—lines, textures—that persist from print to print. Variations are confined to those resulting from how the plate is inked prior to each print. The variations are endless, but certain permanent features on the plate will tend to persist from one print to the next.