I'm so pleased - I finished the other (non) bluebell print.
This one was created using caustic soda to etch the plate rather than traditional cutting. I also tried flicking the caustic soda at the lino from a toothbrush to create a random splatter effect (for the bluebells). It worked rather well.
I'm just so annoyed about the registration slipping in the early phase of this which meant that none of the prints are perfect. There are about 5 which I think are sellable 'full price', a few which a small discount can be applied to as the shadows don't quite match up, but it's not really noticeable until it's pointed out and then lots which are definitely seconds. I'm wondering about keeping a couple of the worst back and having a go at some collage.
I think there are lots of lessons here, as with the previous one.
It brings to mind the most wonderful thing I've heard in a while - Adrian Rhodes who is on a printmakers group on Discord said:
"Ginger Rogers did everything Fred Astaire did, but backwards and in heels. Printmaking is the Ginger that dances with drawing."
Adrian Rhodes (2/5/23)
I thought that was the most wonderful idea, although I'd probably substitute drawing for painting as I think my work references painting more than it does drawing. It reminded me of several other things I've heard over the years about printmaking, the other that stands out is:
"Printmaking is fun because it takes a perfectly simple process like drawing and makes it as complicated and error prone as possible"
(attributed to George Bodmer)
There is something about the complications posed by printmaking that make it fun, something about the process, the variety of results in an edition that make it more interesting. I do find that because I know I can make more I am less precious about each individual print, if something seems not to be working I feel I can try to change it and try again. I don't think any other process would give me that. The fact I can experiment as I go is wonderful, but it does also mean the whole thing is that much more complicated.
I knew that doing this was going to throw everything that's wrong with them both into even sharper relief but here's both the failed bluebells next to each other. Immediately the shadows on the second one are wrong! I knew I should have drawn them in before I painted on the caustic soda.
Ignoring the mistakes it's really interesting to look at the foliage/horizon difference. There is a clear view through the trees in the forest and a sloping hill on the far side so you see sky through the tree trunks, but it somehow seems more realistic with the foliage blocking the horizon. The thicker foliage of the second print works better, although of course, the leaves were barely out when I started he first so they've almost moved with the seasons in real time as over the last two weeks the forest seems to have gone from bare to fully foliaged! The more textured forest floor also seems much more realistic but I do like the etched thicker foliage, more of the branches should have been cut away in this one though. I still have both plates, so I wonder whether I could reuse it with more cut away in the future. Again, I'm so tempted to try and perfect this image, just as I'm still tempted to perfect the pond one! I think I need to move on for now though and revisit these in the future.
In other news there's now only two weeks until the deadline to apply for WCPF and I'm really worried I have nothing good enough to be accepted! I've been playing wit ideas for a black and white lithograph of the harvested areas in the forest and I think I just need to get on with it!