I'm still working on my bird book. I've just completed gouging a pattern of willow leaves onto a wooden block for making the paper that will become the front and back covers. It was quite time-consuming and hard work, clearing all the wood in the spaces between the leaves. I can't wait to try printing from this block. To begin with I will print it in black ink on leaf green paper.
I was first alerted to this way of working by an article on the illustrator Hannah Firmin and a wonderful image of ornate Bali slippers. If you have recently read any of Alexander McCall Smith's 'The No. 1 Ladies' Detective Agency' novels you will have seen Hannah's work on the covers. I love both printmaking and collage but found it difficult to cut up my prints to begin with, possibly because I was trained in a strictly purist ethos. But who makes up these rules? and why do we feel constrained to obey them?
4 comments:
I like the reference to McColl's Ladies Detective Agency - I enjoy reading the tales he writes, but have also spent quite a long time looking at the cover.
Now I know why I am fascinated by them!
Sue
Yes, Hannah Firmin's print work is lovely and very recognisably hers.
I was pleased to discover that she is a daughter of the late Peter Firmin, co-creator of Noggin The Nog, one of my favourite childhood series.
these are stunning... you have mentioned tinting. I have never used block prints. Do you make several prints overlapping colour or do you mean that you tint the coloured areas by different means?
Hi Under The Hill, yes I do mean tinting by other means - I usually print the block in black or another dark colour and when its dry I use watercolour paint or light-fast ink to colour the paper.
Post a Comment