Paper Bird: Permanent Maker Resist Aluminium & Copper Sulphate Etching

Welcome to my blog.

Paper Bird is an exhibition of artworks using non-toxic intaglio printmaking, drawing and collage that represents a mutual interest in symbolic and aesthetic qualities of birds and their habitats.  

The previous post included pictures taken of one of my Aluminium plates with an image drawn using  permanent marker acting as a resist for etching.

I placed the Aluminium plate in the acid for 2 minutes before removing and carefully washing off the iron accretions. I was careful to evenly wipe off any sediment with a soft sponge making sure to remove all streaks, the steaks are built up sediment which can also act as a resist and be visible when printing, taking care not to wipe off the permanent marker.

I then applied shellac to cover areas of the permanent marker that were to remain white. The marker will start to lift (foul bite) quite quickly once re-submerged in the acid.

I then placed the Aluminium plate back in the Copper Sulphate etch until I was happy with the depth of bite.

If you have tried this method of etching before let me know as I would love to hear about how the plates turned out.

To be continued.....

Warmly,
Jo Lankester

P.S Paper Bird 27 May-3 July 2011 Umbrella Studio Contemporary Arts 482 Flinders Street, Townsville

Paper Bird: Plate Creation Using a Permanent Marker as a Resist for Aluminium & Copper Sulphate Etching

Welcome to my blog,

Whilst creating the plates for our exhibition Paper Bird I found an interesting method of using a permanent marker to creating wonderfully rich and stark aquatint etchings using permanent marker, Aluminium and Copper Sulphate Etch.

To be continued..................................

Warmly,
Jo Lankester

Paper Bird: Jo Lankester & Hannah Murray Exhibition Rational

Paper Bird

Paper Bird is an exhibition of artworks using non-toxic intaglio printmaking, drawing and collage that represents a mutual interest in the symbolic and aesthetic qualities of birds and their habitats. 

Birds assume a variety of roles in mythology, religion and art including freedom, wisdom, spirituality, peace and mortality, and are often associated with journeys beyond ordinary experience. Hannah Murray considers the ambiguity of bird symbolism – specifically the dove, the owl and the crow. Indirectly inspired by stories of faith and folklore Murray’s body of mixed media work also represents retrospection and sense of self.

Jo Lankester explores her sense of place using the aesthetic qualities of line and texture. Layered complexity of marks and tone convey snippets of observation drawing from feelings, memory and intuition to create the compositions.

This body of work depicts a multitude of meanings for Lankester who draws inspiration from the common interest shared with Murray of birds and nests creating pieces that emerge from subconscious symbolism and aesthetic. Lankester takes you on a visual journey exploring personal change, freedom, loss and new beginnings.

The collaborative pieces in the exhibition bring together the individual styles of each artist symbolising their common shared journey - one of personal change, transformation and artistic freedom. The process of working in collaboration, a first for both artists, has been an unexpectedly positive and inspiring experience. 

Paper Bird 

Jo Lankester & Hannah Murray

Exhibition Opening 7pm Friday 27 May 2011

Exhibition Duration 27 May-3 July 2011

Artist Talk 7pm  Tuesday 31 May 2011 

Umbrella Studio Contemporary Arts

482 Flinders Street, Townsville

(07) 477 7019 | www.umbrella.org.au

The collaborative prints were created at Jo Lankester's studio, Brush & Press Studio 375 Flinders Street, Townsville 
Brush & Press Studio is possible thanks to the Renew Townsville Initiative http://www.renewtownsville.com

Paper Bird: Jo Lankester & Hannah Murray Exhibition Invitation 7pm Friday 27th May 2011

Custome Printing

I have been working on this latest lino block for a client which is the largest both of us have worked on together.

We have just completed the image on the surface of the lino with Indian Ink, ready to carve.

The lino block measures 84 x 125 cm for a bleed print of 80 x 120 cm. Through discussions with Simon White and Martin King form the Australian Print Workshop on how best to print the lino block, they have advised to glue the lino to a board to keep it flat and stable. They also mentioned that the proofs printed on news print will most probable print better than the BFK reeves paper.... lets hope I do not make too many mistakes :-)

Happy Printing,

Warmly,

Jo Lankester

The Opeing of Brush & Press Studio

It has been a very busy month since opening on the 17^th December 2010. We worked around the clock for two weeks to have the studio ready in time for the Renew Townsville opening a week before Christmas. The support and encouragement we received from you made it all worthwhile.

The following links will take you to a photo gallery of the studio in the different stages of the fit out.

Getting the Keys & Getting Started 

Plastering the Walls

Painting the Studio

Jamie Thompson from OrganiGallery was an amazing support and inspiration in getting the studio ready. He gave us endless instructions, tools and moral support whilst fitting out his own gallery three doors up. Without his expert advice we would still be plastering the walls.

Renew Townsville is a not for profit company limited by guarantee. Renew Townsville has been established to find short and medium term uses for buildings in Townsville’s CBD that are currently vacant, disused, or awaiting redevelopment.

To read more about Renew Townsville follow the link below.

http://renewtownsville.com/

Warmly,

Jo Lankester

P.S It was character that got us out of bed, commitment that moved us into action and discipline that enabled us to follow through.

Zig Ziglar

I'd Rather Be in the Studio! 

Day 17: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

Day 17: Printmaking residency at Umbrella Studio Contemporary Arts, Townsville

I arrived at the studio early to have another look at the prints before collecting Tate Adams to view the new work.

I had a lot of prints for him to look at and felt confident with the new plates.

Tate had redesigned the book layout and was excited to show me, it is now a bound book consisting of three pages, two of which fold out.

I had the prints all laid out on a large table and Tate swooped on the prints with an eager eye. He chose two very quickly saying they were much better than the two I showed him a few days ago and more in line with the 4 prints purchased by Perc Tucker Regional Gallery from my last group exhibition XXX+Why at Pinnacles Gallery, Riverway Arts Centre, Townsville.

As soon as Tate Adams left I commenced the first colour in the edition. The lines are so deeply etched that when all three plates are printed consecutively the ink bleeds. So I'll be printing one colour at a time.

Happy printmaking!

Warmly,
Jo Lankester

P.S Set aside one hour a day to keep in touch with your peers. Read about other artists. Look for competitions and other opportunities. Participate in an online forum.

P.P.S Discover how to turn your printmaking hobby into a profitable business www.howtogetstartedinprintmaking.com 

P.P.P.S You must be the change you wish to see in the world.
Mahatma Gandhi

Day 16: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

Day 16: Printmaking Residency @ Umbrella Studio Contemporary Arts

Today was a huge day in the studio proofing new plates.

I proofed all the plates in black first to see exactly what was etched in each plate. I printed different combinations of plates using Yellow Ochre, Burnt Siena and Black.

I was very happy with the line definition and image diversity. As mentioned in previous posts, the plates were created on location at the old Echlin Street Quarry, Townsville. Each plate has a variation of mark, some with a greater intensity of line than others, allowing for diversity when printing using multiple plates.

Tate Adams will be visiting the studio in the moring to view the new plates.

To be continued......

Warmly,
Jo Lankester.

Day 15: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

Day 15: Printmaking Residency at Umbrella Studio Contemporary Arts.

As mentioned in my previous post, I decided to create a new series of plates for consideration for the book. I spent last night applying Liquid Hard Ground on 6 Aluminium plates ready for to take on location at the old Echlin Street Quarry, Townsville.

I am lucky the the wet season has started early this year as the natural springs were flowing. They weren't flowing as fast as previous site visits but they were flowing enough for the plates to glide down the old road.

I'm glad that there was less water flow than I anticipated as different marks were created  to previous plates.

I also skid the plates across a dry rocky surface for different marks.

I etched the plates for 10 minutes and discovered the acid was substantially weaker due to all the activity over the past two weeks so I added an extra 250 gms of salt, waited for it to dissolve before putting the plates back in the acid for another 15 minutes.

The lines are a deep rough bite. Just what I was after.

Happy printmaking.

Warmly,
Jo Lankester

Day 14: Jo Lankester Printmaking Residency @ Umbrella Studio Contemporary Arts

Welcome to my blog,

Day 14: Printmaking Residency at Umbrella Studio saw a twist in my approach to creating the prints for the book Fissure to be published by Tate Adams, Lyre Bird Press, I decided to create a whole new series of prints made site at Echlin Street Quarry. With 4 days remaining of the residency I have plenty of time to prep, create, etch and proof the plates.

After talking to Tate Adams on the weekend, it was decided that the two images where too similar and did not contain the same feel to previous prints created on location at the Echlin Street Quarry. Tate requested another print displaying more mark variation.

Today was spent sourcing the aluminium, having it cut to size, degreasing and applying the liquid hard ground to six aluminum plates. I will set off to the abandoned Echlin Street Quarry first thing in the morning.

Happy printing.

Warmly,
Jo Lankester

Intaglio: Acrylic-Resist Etching, Collagraphy, Engraving, Drypoint, Mezzotint