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<\/a><\/p>\nIn the next post, I’ll show how the basic plate shapes were made.<\/p>\n Find all my posts\u00a0about Art Printworks stories on Twitter at:\u00a0#artprintstories<\/a><\/strong><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n
It’s been a while, but following my ‘Anomalies’ exhibition (which ended last October), I\u00a0have a new direction for my printmaking.<\/p>\n
Essentially, it’s an exploration of shape and format, and also more freedom to make individual compositions for each print. This is important to me so that I can maintain my basic approach to printmaking; the creation of unique, non-editioned prints. Once the shapes are made and the textures applied, I can then play\u00a0with combinations of some of some of the platemaking techniques I have used before; selective use of carborundum, dripped varnishes and PVA, metal paints, cotton strands fibres and many others.<\/p>\n
Unusually for me, this series\u00a0is starting life as a set of quick sketches. I like the idea of representing something \u2013 a body; something like a moon, sun or planet \u2013 in the process of being formed. I’m also imagining the use of intense warm and hot colours, symbolising the process of forging, or a state of flux.<\/p>\n
In the next post, I’ll show how the basic plate shapes were made.<\/p>\n Find all my posts\u00a0about Art Printworks stories on Twitter at:\u00a0#artprintstories<\/a><\/strong><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n