Looks like this will be kind of the view for my next print. Interested in Samuel Lines' grave and the inscription as well, so I will play with the composition. I also want to include a morning fox between the railings and the grave.
I quite like how the photograph is almost devoid of colour. I think a strong splash of fox orange in the foreground will work well.
I think this took almost twice as long as some of the others to complete. I loved exploring layers of colour and different ways of revealing the colours: gradient fades with transparent extender, wiping the plate and reduction cutting are all processes used in this print. There is a warmth to the colour and I quite like the fact that I would really struggle to know how it has been made by looking at it.
Just need to work into the bottom left of this print. I want the main hall to have the sun shining across the top part and the shadow to have more details and be less dark.
I've darkened areas of the print and then printed light onto the top. It is the opposite of how I usually work: starting off light and becoming progressively darker. I've been surprised by how the thin layers of light ink have remained opaque.
I've had to wait an inordinate length of time for the ink to be dry enough for the final detailed layer with the two birds. This particular print is an artist's proof with the edition being completed this weekend. This print became a proof (or print that I try things out on) as the first layer of blue was too light and patchy. I like the way the birds change colour as the slightly transparent ink is altered by the background colour and a gradient in the ink.
A couple more layers to completion for this print. I've used elements of monoprint with the engraved block. This is where I will ink up the block and then wipe areas away revealing layers of colour.
Printmaker on a mission. 100 + prints of Brum inspired by Hiroshige.