I feel like week three has been a turning point and I can start to see dividend in the daily practice of creating an ink drawing a day for 31 days.
Here are my #inktober drawings from the third week of the challenge, they are to fit the #Inktober2017 prompt words but also are created to fit the briefs of the eshortcourse in Illustration I am studying with Bill Wright, tutor at Central St Martins.
Into the home straight now – here are the prompt words to come.
You can look out for next week’s instalment or see updates at my Facebook page and Instagram feed.
Life Coach Elaine Mitchell asked me for an artwork for two Empowered Woman events for International Women’s Day. I’ll be speaking about my journey and exhibiting original artworks for, prints and exciting new products for sale, at the event on 8th March.
Here’s the story of development of the artwork, as drafted for Elaine’s blog…
Developing Artwork For Empowered Woman Events By Life Coach Elaine Mitchell
I was delighted that Elaine asked me to create an artwork for her two International Women’s Day events on March 7th and 8th 2017 at Hotel Van Dyk.
I’m a Sheffield based artist and illustrator with the brand of Inspire by Kim. After a successful career, in travel industry public relations, blowing my knee was the impetus to become a full-time artist. Now creating art and illustration for myself, and my wonderful customers, is the good that came out of major injury.
Elaine’s brief to create a dynamic brand image, demonstrating empowerment, authenticity, strength, warmth, flow and generosity is inline with psyche of the female characters that I create. My characters are their authentic selves and thrive by living this way. The ‘Wonderful Women’ in my Portfolio demonstrate this theme, such as my ‘Leaves Lady’, which I used to promote my April 2016 exhibition.
After giving a lot of thought to Elaine’s brief I sketched a number of concepts. I wanted the piece to have a lot of energy, demonstrated by colour, and to symbolise positivity ahead. I developed ideas using markers, Lino cutting, inks and a great Sheffield made colour crystal product called Brusho.
Elaine loved the a number of the artworks but was keen to change the background colour. The chosen artwork was the colourful figure striding forwards, as her fabulous self, towards a shining future.
I replaced the background with Elaine’s signature green, as used on her website and book cover. I left enough space alongside the figure for Elaine to add information about the wonderful events in March.
Spectra Electra – Elaine asked for a name for the woman, Spectra then Electra popped into my head.
It’s great working which Elaine as she’s so bubbly, positive and fun. I’m delighted that Elaine has asked me to speak about my journey and exhibit at the Empowered Woman Celebration on 8th March at the Hotel Van Dyk.
All the best to Elaine for great events, I’m looking forward to them. For more information on the two events head across to Elaine’s website. To buy tickets for the 8th March event click here.
I’ll be offering original artworks, prints and exciting new products for sale at the event on 8th March.
Life drawing is important for my work as my art is very much about feeling good about life and doing one’s best to stay positive, as I’m female the characters in my art are most often female, so being able to represent women through drawing is important.
A number of life drawing sessions were timetables for the start of the Foundation Studies course, as the figure is considered to be one of the hardest things to draw.
I used a beautiful life drawing from UAL Chelsea and used Lino cutting techniques to cut into rubber.
I added feathers when printing. I’m delighted with the outcomes.
I love the vividness of the colours achieved and contrast with printing inks on the white paper.
I think I prefer this print reversed…
I cleaned the Lino with white spirit then cut further her into the Lino and re-inked and created more prints.
The second part of this challenge was to Lino cut directly from looking at the life model using just the cutting tool and Lino. Here are the resulting prints with the bright colours being inspired by Alberto Giacometti’s ceiling murals that I saw in Zurich Police Headquarters last week.
I’m just back from my first screen printing session at Sheffield Print Club. Unfortunately the light sensitive emulsion shipment was damaged so we weren’t able to complete the screen coating process. However I had watched a comical YouTube video so understood the principals of the process.
I prepared black and white images to print from, using photo software.
The first image I chose was a glue gun Collograph print that I created. I like taking artworks through a number of mediums. The artwork was printed onto regular paper before I was tasked with rubbing vegetable oil into it and then putting
it to dry.
Once dry the paper was overlaid over the prepared screen and exposed to light for three minutes that the emulsion would set, but wouldn’t set where the image overlay was.
After gently washing off the emulsion with water and a sponge, drying and choosing ink colours, I was ready to print. The inks were acrylic paint mixed with acrylic print medium. Great, less messy, less staining and possibly less harmful than inks used for Lino print and intaglio etching.
The screen print frame was put into hinged clamps and inked ready. The technique for printing and flooding takes a little getting the hang off, but practice means the process is committed to memory.
The first print was into hinged acetate in order to determine where the papers needed to be positioned. Guide tabs were then added so that each sheet could be lined up.
I then started the print, remove paper, flood, add paper, print, remove paper, flood, add paper cycle, which almost started to feel like a dance, back and forth, lift and lower. Never one for the simple life I had chosen a two colour design to demonstrate the male and female subjects of the artwork and the mingling of the colours where the inspiration conversation is taking place.
The prints were in turn put to dry, then when the printing was completed the remaining ink was scraped back into the container, the screen washed down with a wide spray jet wash and the squidgy and spatula cleaned.
I then began on the second print which was a two part, two colour, layered design. The preparation of the image was more involved and required the part of the design which would overlap to be removed so that the colours did not overlap and give a third colour. This was then printed onto two sheets, and the same process of oiling, drying, light exposure, washing, drying. Both sheets were applied to the same screen but opposite ways up and the positioning as mirrored as possible.
The second time I used a much larger press with a vacuum bed. I first created the underlay of the yellow circle shape on each of the papers and then took each sheet in turn and very carefully lined up and printed the text graphic second layer on each.
I’m pleased with the outcomes, although it seemed complex at the time, after stepping back the process is quite straightforward. I preferred the inks to Lino printing, less liked the use of the PC than in Lino printing, found the alignment trickier than Lino printing and due to the scale found it trickier to hand the screens than other print mediums I have tried.
I’m keen to let the process sink in now and think about how I might like to use it next. I’m really pleased with the outcomes, they are striking and I love that you can feel the ink on the paper.