Even though I made these experiments in the Summer, it is only now that I thought about sharing them on this platform. Why? Simply because I didn’t really know if for me they would be a one-off type of thing or if I would continue on with the experiments. Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process is very simple but there is lots that can go wrong. Mastering the process is a matter of persistence and research. It is quite good fun as well and the results are very much worth every single effort to perfect your technique and make it your own. You can work either with natural sun light or with UV exposure units. While the ladder is more controllable and predictable, working with the sun light brings an uncertainty that I find quite attractive and complementary to the images. There are some very useful tips that one can find in Youtube and on Internet. I myself was surprised how generous some professionals are in sharing their knowledge and leave here some links that were essential for me:
Hello there! This workshop actually took place a while ago and it’s only now that I am managing to share few of the nice and colourful results. These were done over a 2-hour workshop working basically with cut-outs as stencils for… screen printing on tote bags! It was good fun and everyone had a go at pulling their print! Believe it or not I manage to keep the beautiful carpet intact. Hurray screen print!
From Friday to Sunday last week, I ran a print mixed media workshop at the Druckvereinigung Bentlage – a great printmaking studio in Rheine with amazing equipment and facilities for lithography, screen print, and of course etching. The workshop was based on the combination of the intaglio techniques such as hard/soft ground, drypoint, chine-collé and photo-etching. Here I am sharing some of the beautiful results.
Halli hallo 🙂
Last weekend I had the pleasure of running a weekend workshop in the lovely Druckvereinigung Bentlage (Rheine, Germany). We had a very productive time, concentrating on learning the nuances of the drypoint technique, exploring drawing, tones, compositions and qualities of lines. To complement the work, we finalised the prints with chine-collé, using some nice Himalayan paper (Strohseidenpapier). It was participants’ first time trying this technique and the results were really good and reflect the incredible potential range of possibilities that the drypoint has to offer.
These are some of the images produced over three short workshops yesterday with students of Saint Columba’s College (secondary school). We explored the technique of drypoint using perspex plates (or plexi). The main focus of this activity was to explore drawing through an intaglio process, concentrating on the depth of the lines, pressure and composition. Duration of each workshop: 90 minutes.
These are some of the prints created by 23 students during my printmaking workshops as part of their Illustration and Picture Book Course, run by Adrienne Geoghegan here in Dublin. After looking at the portfolio and a full demo about how drypoint printmaking works, the students prepared their drawings based on their own interests and personal projects. Then in the following session, they worked on their plates using only drypoints and experimenting with the different pressures one can apply on the tool to get (the beautiful and unique) tonal differences. We worked together for 2 sessions of 3 hours each and the aim of the workshop was to give the students the general idea of the process. Apart from 1 student, all the others were trying this technique for the very first time.
For (absolute) beginners, this course covers hard and soft ground, aquatint and some introduction to colour printing and chine-collé techniques. My teaching focus is the creative development of images through drawing. The students bring plenty of photographs and sketch books so we can discuss their ideas, aims and how to translate the images into the graphic language of printmaking.
This course takes places once a week for 6 evenings plus one whole Saturday at Black Church Print Studio, Dublin.
This print workshop was based in the exhibition The Coëtivy Hours on display in the Chester Beatty Library. The Coëtivy Hours is an illuminated manuscript from the 15th century richly decorated with floral scrolls, human, apes, lions, birds, family arms and supernatural figures. Prigent de Coëtivy commissioned a workshop in Paris to create the masterpiece to mark his marriage to Marie de Rais.
We started with a full demo of the drypoint process followed by a visit to the exhibition where participants could get ideas for their own images and sketch some drawings. They created their own plates, using perspex (a thick acetate), and drypoint. For printing the plates we worked with a range of colours and chine-collé technique. Here’s a little taste of what we were up to:
Last Saturday I had the pleasure to work with two enthusiastic groups (12-14 years and 15-17 years)at Chester Beatty Library. The workshops covered the techniques of chiné-colle and drypoint exploring the theme of fantasy and imagination. It was most enjoyable to see how dedicated the teenagers were to create images and mixing colours to express their feelings, dreams and perceptions of the world. All of them were new to intaglio and despite of finding it challenging, they also found it equally rewarding!