Tuesday, 12 February 2013


     In the next session we were looking at Degas again and encouraged to experiment with the positive version of what we did the previous lesson, which meant literally paint with the brush on the polished plate. The ink can be thinned with cooking oil or vaseline.
 Although it might seem easier than wiping away ink, we all found it harder. I think this was basically because of the difficulty of manipulating ink and forecasting what the print will look like. I think it is a bit like painting on an imprimatura, it's easier at the start.
Both tutors went very much in depth analyzing the depiction of space and light, the dynamic use of the brushwork and the composition and the tonal balance.

We work under time pressure because the ink is drying, even more so when one is painting with a thinner layer.
With this technique it is easier to use a range of marks, working with a brush ( hog) or dabbing with a cloth.

Again I was quite surprised when I printed this one, it reminded me of the atmosphere in the drawings of Karl Hubbuch, a German artist who showed at the "Neue Sachlichkeit' show in 1925. 

I bought a book of his drawing ages ago and I always loved this work. Christopher Isherwood has always been one of my favourite writers and this drawing for me embodies the spirit of that time.
It's strange some times how images resurface in the work without one being aware until later on.

In the afternoon we worked on two plates, so we had the chance to work on a larger format. It was interesting to include both the model and a bit of landscape from the garden. 


These are the two separate plates, and again I re-worked and re-printed afterwards.

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