This is a new collagraph plate, it has driven me a bit mad translating the carved lines from my photo in Randwick Woods in Gloucestershire. Now the varnish must dry.
A kite in flight.
My latest work – Collagraph Print with a 24ct gold leaf sun. To buy online click here .
More about me here: https://linktr.ee/DianeYoung
See how the gold leaf changes with the light!
“To The Sun and Back” – Kite with 24ct gold leaf Sun.
Different angle showing how gold leaf changes in the light.
Close up – can you see the gold fleck in his eye!
How does your creativity come to you? There are so many different ways and means for us to form our new ideas. If only (sigh) we could produce utterly original work from referring only to the inside one’s head this is in reality impossible. ldeas cannot possibly arrive from nothing can they? Even if you suddenly have this visual composition roaming in your head based on mathematics or a fantasy style painting inspired by a walk in the woods last week, or an abstract work depicting the feeling of being by the sea since your beach holiday these refer to information already stored which has been absorbed from the world outside of you. And of course we are also informed by seeing other artists’ work; whether that art is produced by your friend or your art group or an Old Master of times gone; this could be incidental or deliberate. It is wasted energy trying to avoid what has been seen or done already!
I usually get a pretty fixed idea of how I want something to look and try to find reference for this from all manner of things. I have stores of actual photos, reference books, lots of my own photos of nature despite how rubbish they might be, snaps from TV programmes, and holiday pics on my PC and also digital storage of old drawings and my paintings. Of course the internet is really useful in figuring out the form of say animals in action, or the way the moon reflects on water, plus there are photographers who allow direct referencing to their work too on Facebook, useful obviously if you really have not seen an alligator up close or such the like.
Sometimes I forget about looking at my own work, most of which will not have been used for final work and even if it has I can use bits of it again.
I am in the process of creating a collagraph plate and looking at fox references at the moment. I want one loping along, with a purposeful gait. I had been looking around on the internet to translate my imagining into some sort of reality but (yet again) could not find the exact form I was looking for. After procrastinating (yet again!) I found a photo taken a long while ago of a fox by chance in a lane local to my house. Unfortunately he was looking back so his head is effectively missing.
Thanks to the search documents facility bringing up everything with “fox” in on my PC I could then see that one of my finished paintings could be useful for the fox head. The Fox and The Grapes below is an original painting still and it is for sale.
The painting is 29 x 33 cm priced at £150. If you are interested in the painting please email me here email@example.com or message me here on facebook .
Fortunately I have photoshop so a quick flip and some mucking about with the shapes I have pulled them together and have a perfect reference point to move forward to the next stage of putting my next Collagraph print together. Ta da!
More of my foxes FOR SALE here –
THE DUCK AND THE JUG FOR SALE £75
THE FOX AND THE GOLDEN BELL FOR SALE £150
If you are interested in my work please email me here firstname.lastname@example.org or message me here on facebook .
I am trying to hold back on this work in progress and not ruin it by any rash decision making.
The seahorses and the arc are collagraph print, and what appears as coral is watercolour based on the pattern made by the Sundarbans where hundreds of rivers meet the Bay of Bengal.
This is an original collagraph print made from a combination of my photo of Venacher Loch in the Trossachs placed as textures of the trees and the loch within in the form of a rutting stag. These beasts naturally inhabit both the Highlands and the North Lowlands of Scotland. We were there in 2017 visiting friends when we went to Venacher Loch for a walk and a lochside supper when I took the photo; such a serene and beautiful location.
Yesterday I was watching a Brian Cox programme about the discovery of treatments for diseases; catching up on things recorded last summer! Brian Cox was describing how these days our investment in research is focused only on the cure or solution to the problem, ie discarding any negative results as irrelevant. The unfortunate problem with this is that scientists and researchers are not being given free rein to discover things by accident when inadvertent discoveries can also lead to the creation of useful results.
The permanent dye for the colour mauve was accidentally discovered by a scientist (William Henry Perkin) who was trying to create a synthetic quinine which is a cure for malaria. He made his future wealth out of producing this dye particularly after Queen Victoria wore a silk gown dyed with his creation mauveine. He failed in his original task, yet this discovery was deemed to be a success!
Essentially, both successes and also the detailed records of failures can be of great use to other research in the future.
The same could be applied to artistic endeavours couldn’t they?
I do divide my failures into those which are possibly useful to refer to in the future and rubbish definitely to be binned! It just would not be possible for me to store everything especially since switching from painting to printmaking. Photos of work in progress and experimentation can make it easier to store information, or even just notes.
I hung onto this trio of tom cats below which was created simply to test a printmaking texture. It was useful yesterday in convincing me to use a particular texture for some mountains on a new piece I am working on at the moment.
Happy Easter weekend! Sometimes it is better just to go for it and create a small piece of art especially if you are procrastinating a bit, so here is my funny little egg print.
Moving from painting colour to printmaking with colour is really difficult! Tiny bits of colour are creeping in here with my rook.
It is coincidental that a printmaker’s single colour choice is often prussian blue and that this happens to be one of my favourite painting colours. Keeping the inks simple is best for me at the moment whilst trying to get the shade via the texture right, as well as the consistency of the ink, the paper and the press! Prussian blue’s history is extremely varied; if you are mad about colour history there is plenty of very interesting facts about Prussian Blue here.