This week we have been putting up the final show in college. There are two rooms, I'm in the smaller one. This is the second degree show I've set up, and let me just say, getting a number of frames evenly spaced and in a straight line requires a degree in itself.
My colleagues are displaying their work in a variety of ways including mounting prints onto aluminium, sticking prints to wooden boards, and pinning images directly to the wall. I've gone with frames for a couple reasons, my work is relatively small and I didn't want it to get lost on the wall. There are other obvious advantages like frames protect your work from sticky fingers and dust.
I've gone with a contemporary ash frame without mount board, so you can see the deckled edge. My work does not photograph well - so come and see it if you can!
This is Ramon, who is next to me and one along. We have quite a lot of variety in our room and I'm happy to be next to something a bit louder and brighter, I think its going to make for an interesting show!
This is a sneak peak at one of the plates I am using for the upcoming degree show. One of the things mezzotint is highly prized for is its ability to produce rich, velvety blacks. It can get very tiring staring at black all day, so I was wondering what would happen if I printed the same plates in colour.
Unfortunately, the answer seems to be: not very much. I had to mix these colours with oil and the powdered pigment myself, and its possible that I would get a richer colour by continuing to grind more pigment until the ink was quite solid but I feel the brighter colours lack the tonal qualities provided by the black and brown mix I normally use.
I added black to the purple and started to see the results I was hoping for, but of course, once you start adding black to things you lose the brilliant colour that I wanted. I didn't have too much time to experiment with this before the workshops closed but its definitely something I would want to look into in the future. There is also the option of printing in black and using watercolour on the prints to add colour.
Before I went the way of mezzotints for the degree show I was thinking of doing a few really large linocut portraits. This is a multiplate print. I had been looking at the book "Chuck Close Prints: Process and Collaboration" which is divided into sections based on print technique. Close seems to be a very process driven artist, his subject matter hasn't really changed all that much over the years, and in this book in particular I noticed that he uses the same photographs for source material over and over again (e.g the photo of Alex Katz from which Close has produced numerous portraits).