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other important factor is that whereas in the past i could attend eg a one day course in printmaking at eg dca and it was best if i could go along with my friends sheila or tatiana although i would be utterly shattered i would recover the following evening and be flat out the next day then the next day i would be my usual normal pained self for me it meant i could when successful have the opportunity to have my artwork in exhibitions and often there would be documentation of the artworks in situ including my own in addition to this i selected printmaking exhibitions to submit to that created and printed published a catalogue with all of the works exhibited to me this was like a document celebrating the event and it definitely had significance to me the other thing which is was particularly important for me is that i didn t have to send the work already framed and ready to hang instead i could send the prints in a rigid cardboard tube or if smaller it could be sent in an a4 or a3 cardboard folder package having said all of the above things have now become worse in that now i have become increasingly fatigued at doing very little for example tidying up my work surface in my studio whereas it might take me a couple of hours a few years ago now i need a couple of days i have to really take it slowly or i could overdo it and have increased pain i decided to rejoin the print workshop about 9 months ago it was in february and i went along on the thursday charlie took me there and carried my a1 portfolio in and set me up at a work station so to speak i had decided to keep my movements around the workshop to an absolute minimum i had my rollator with me to walk around with i went for about 4 or 5 weeks in total sometimes in succession other times with a one week gap in between i was very pleased that i met a new to me person called malcolm b i found him to be an interesting intelligent person and helpful too which of course i very much appreciated what i also liked was that he was into using andrew baldwins big etching ground less toxic than traditional etching ground and the solvents eg white spirits needed to clean up afterwards with the baldwins ground one need not use solvents and it was is possible to do a range of techniques using it one thing that i had hoped to do with malcolm was the photo etch using a toner copy eg photo copy or laser print it never happened in the end malcolm was busy working on something or other so that by the time he was free i had by then fallen into disrepair posted by aine scannell at wednesday july 17 2024 0 comments email this blogthis share to x share to facebook share to pinterest tuesday 4 january 2022 testing new posts especially whether an email notifying new content on blog is sent to subscribers well the last post on here was to do with the international print exhibition in wrexham and how i would love to have been there for the opening and particularly to see all of the other artwork if this works i will do some catch up on here note for those who are unaware blogger google notified us bloggers that the sign up by email function was to be scrapped after june 2020 or possibly 2021 there was to be no replacement re losing feed burner follow by email the impression i get is that followers who are already on my rss email feed list continue to receive email notifications whenever i create new posts on my blog however the gadget for follow by email is no longer visible in the column to the side of my blog i double checked by going to my dashboard and then page layout and clicked on add a gadget alas follow by email is no longer on the list of gadgets anyway lets see i am pleased to report that through the excellent research and advice offered through https sofanmax blogspot com 2021 10 followit to replace feedburner follow by email widget in blogger for free html i was able to register with follow it and thereby enable those people who wished to subscribe to do so this was is at no cost just doing a further test so will resume posting on here soon posted by aine scannell at tuesday january 04 2022 1 comments email this blogthis share to x share to facebook share to pinterest tuesday 27 july 2021 wales international print exhibition 2021 posted by aine scannell at tuesday july 27 2021 0 comments email this blogthis share to x share to facebook share to pinterest wednesday 1 may 2019 z is for zea mays i have known about zeamays for a good few years now i can t remember what it was that first brought me onto their website established by liz chalfin in 2000 zea mays printmaking is a print studio in florence massachusetts usa so it s a place where you can go to do some printmaking or go see an exhibition you might also go there to learn specifically about non toxic printmaking or to do one of the excellent printmaking courses they run there with some really good artists another thing they have established is an artists residencies programme it s a pretty large detached building with four floors and a basement to me it looks like it might previously have been an old mill or a factory or maybe a storehouse one of the things i particularly like about zea mays is the research they undertake and publish on their website more on that later they have a members gallery on their website too as all good print workshops should do in my opinion here are a few pieces i have selected from there the things between us photo intaglio and watercolour 22 x 30 liz chalfin her website nearly no 1 monotype 7 x 5 5 inches monotype by tekla mcinerney so subtle rudimentary water 3 which is a woodcut monoprint from her rudimentary water series love how she is using the woodcut block in her mono prints when i originally saw these i thought they were watercolor monotype or just very transparent monotypes 8 x 8 inches artist joan dix blair of zmp getting back to the research that goes on at zea mays it s so hard to select from the list of things that they have done but i have gone for the quest to find solvents to use with akua intaglio inks in monotypes as i have made the changeover to using these inks of course this little research project would invariably interest me it disappoints me you know the amount of people who are so against even trying these inks as they are an absolute gift 1 test proof using diluted washing soda crystals they think that they wont be as good as the traditionally used oil based etching inks but these inks are just as good it s just a question of becoming accustomed to using them i have to admit here that i purchased the akua kolor inks in the first instance and i did find them difficult to use they are a lot more fluid than the akua intaglio inks i think maybe one needs a bit more patience and persistence with them by the way they are also referred to as akua liquid pigment they are mainly designed for use in monotype printmaking speedball usa own the brand nowadays here is a delightful monotype by nancy doniger a zmp member check out her website working with akua enables the artist to have a lot more time to work creatively i can illustrate this by giving an example let s say i am inking a plate that is say 50 x 70 cm whereas using oil based inks would have taken about one and a half to two hours using akua intaglio inks only takes me about half an hour clean up is water based and so so easy i can t wait to try this out myself 3 test proof using diluted washing soda crystals i have long admired the print works of joyce silverstone in some pieces she achieves this dynamic sense of space in others such as this one there s just something that very much appeals to me among other techniques joyce sometimes combines lithograph relief print with monotype and some trace monotype i get the sense that she is a really good teacher from the course descriptions here s her website this piece is by anita hunt who is a formidable etcher and a whizz with the spit bite i first came across her work on the previously mentioned interaction networking platform now defunct in fact my friend tatiana and i participated in a collaboration for a print installation called rabbit saves the world which was held at the impact6 printmaking conference held in bristol u w e in 2009 dissolution i drypoint and spit bite aquatint 9 x 9 inches check out anita s website this piece looks like it might have been created using watercolour monotype although maybe not it s by zmp member anne burton she does not seem to have a website currently so check out her work and many others on the zea mays members galleries website oh and before i forget apparently one should not combine washing soda crystals with aluminium so bear that in mind if you try this i ll use a polypropylene plate possibly a textured one i like how it s grain like texture holds the ink this is the final image within the pages about solvents for akua intaglio inks within the research section of zeamays website https www zeamaysprintmaking com posted by aine scannell at wednesday may 01 2019 0 comments email this blogthis share to x share to facebook share to pinterest labels anne burton artists residencies joan dix blair nancy doniger non toxic printmaking printmaking research solvents for akua intaglio inks zeamays sunday 28 april 2019 x is for xing xu xiuhua xing xiao xinping xianqiao xin lu and xuewu wow that s a mouthful of printmakers names from china i have long admired printmakers from china quite often the works will be done on a large scale using relief printmaking and the majority of that will be woodcut having looked at these works in printmaking catalogue books it will be obvious that these have been painstakingly undertaken over several weeks to months they are really impressive illusion dream woodcut by zhang xiaochun 100cm x 70cm link to information on him further down june in southern china by zhou xing 47 x 50 cm link to information on him further down there are some chinese printmakers that i have come across which i wouldn t have known about had i not participated following submission and selection in international printmaking biennials such as yunnan and guanlan in china reduction woodcut by zhang xiaochun while perusing through some of my printmaking catalogue books i ve encountered some very impressive pieces however the specifications of the pieces i have particularly liked have only had the name of the artist given in chinese characters so of course as i don t speak or read the chinese language its impossible for me to try to find further information about them on the internet which is so disappointing and i think that s such a shame girls covering theirs faces lithograph 58 x 48cm by su xinping link further down it would have been quite nice had i been able to get in touch with them through their website come to think of it that would be useful for them as well as then other people from the art printmaking world could contact them about featuring them in exhibitions books research and so on silkscreen by xuyi jian mei no size given the other thing which i must apologise for is that with some of the artworks there was no title or no technique given or no indication of size i would imagine where the size is not indicated that the prints will generally be approximately be about 50 x 70 cm or larger woodcut by xu chengchun no size given i really liked this as it seemed somewhat progressive beyond the landscape portrait although the 4th and 5th do seem to fit this category also its my favourite so far but its a shame that it has hardly any details and that the image you see here is as large as it gets couldn t find a website either new moon spring by xin lu that name doesn t seem substantial enough either another print by the artist who made the first print shown at the top of this post namely zhou xing no technical details available clear mountain stream by zhou xing 47 x 50 cm link to more on zhou xing the same goes for this piece by z hang xiaochun his is the second print down from the top of this post here is a link to some more info on him on this website reduction woodcut by z hang xiaochun woodcut by su xin ping i like how disconcerted this image makes you feel as a visual artist su xinping works with oil painting lithography etchings and woodcuts over the past couple of decades he has also established an international profile i like his surreal take on things and commentary from the old china to the new china here is link to more about him his work classical no 2 silkscreen by zheng xuewu ale i hereby include this print in a gesture of protest it s very disappointing to say that i could not find one single female printmaker from china this is by a non x artist li hongren lithograph and embossing posted by aine scannell at sunday april 28 2019 0 comments email this blogthis share to x share to facebook share to pinterest labels contemporary chinese printmakers li hongren su xin ping su xinping xin lu xu chengchun xuyi jian mei zhang xiaochun zheng 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