Thereafter artists involved with this exchange/project would make a "a printmaking" intervention therein (i.e., within these "designated blank areas"). Obviously the nature of the paper would need to be considered. ![]() I have previously thought that I would like a design/layout for a book by one of these 'self publishing outfits which has some pages in the book left deliberately blank. Additionally I would like to see a book come out of this project, perhaps using Blurb dot com or Lulu dot com. I would love to co ordinate a portfolio exchange project but would want for it to be exhibited as well, internationally.Īs I am an independent artist without allegiances to eg the academic world - this makes things more difficult but there may be benefits that I am unaware of, as of yet. I kind of want to initiate some action in relation to the ethos of the research, as it were. It's getting more and more difficult to keep up my momentum. But I just thought that I 'd see if any of you respond as I need to do something "actual" and real, in relation to this blog. Tradigital portfolio/ exchange/ exhibition/ bookĭefinition of what is meant by this is at the top (header) of this blog Still I will keep my eye out for when they put the next 'call for work' which should be held in 2011. I have come across one or two other artists who had works in that show and wasn't that impressed with any of it, of course it's all a matter of personal taste when you really think about it. As I said to Elisabeth in an email I sent her about a week ago I think it was as much the manner in which one proposed to EXECUTE the 'collaborating' as the aesthetic of the work itself which I think was more the emphasis in our proposal. I also submitted a proposal for a collaborative installation with my good friend Elisabeth Omdahl (Norway) for this exhibition, but it wasnt selected. Held at Galeria Harmonia where I had my work exhibited a few years ago as part of "Printmaking at the Edge" through being an artist featured in Richard Noyces book of that name. I noticed that he had his proposal selected and thereby participated in Graphica Creativa ‘09, Apparently Robert says (in his blog) "t he term sub-rosa, or “under the rose” is used in English to denote secrecy and imply covert activity. But there's something rather unpleasant about it in a tactile sense. I HAVE tried their own brand paper such as their watercolour paper and the Bockingford double sided paper that you can buy from places like John Purcell or RK Burt. Honestly you'd think with a printer that costs 7 or 8 hundred pounds (when I bought it) that they would be generous enough to supply it with a hard copy manual !! I have also written note on the uses of different types of paper although I mainly use printmaking paper. One of the problems with it has been that I use it now and again say on average once every 4 months so I kind of forget how to use it although I have by now printed out all the pages, that I need to refer to, from the PDF manual that comes with the printer. It has taken ages to get used to it and I can safely say that I am no longer intimidated by the beastly thing. I got mixed up about which direction the image comes out of the printer. I had to input the exact paper measurement that I was loading into the epson printer and have it as a 'custom setting'. Measurements and registration was critical. I also wanted to be able to output this layer of ink directly onto the paper. Then I put the light box on to heat up, ours takes ten minutes. Once dry it was removed and allowed to cool to room temperature. ![]() I like that I can phone them if I have difficulty with this process (although I am used to it by now so don't need to) but when you are starting out its really helpful to have that technical back up. I got the emulsion from I ntaglio Printmaker suppliers in London. ![]() This was put to dry, in our drying cabinet. My aluminium plate was first degreased, then I applied a layer of roll on "Fotec", photo etch, emulsion. It's a very basic one but I am familiar with using it by now. I made a positive in Photoshop as a bit map, to put onto the light exposure unit we have at FDPW. Physically - I started with the figurative image well that is, in terms of actual preparations. So I guess the print started its life inside the computer with the 'overcoat'. I started the image from scratch with this objective in mind, i.e., that I would overlay the inkjet on to the proof. My hesitation had been somewhat coloured by my apprehension with regard to feeding 'foreign bodies' so to speak, through my expensive Epson R2400 printer.
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