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Nik Pollard & Greg Poole exhibition – Slimbridge WWT

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Slimbridge WWT, Gloucestershire  – 11th August to 23rd September 2013


David Measures exhibitions

Stamford Arts Centre from 12th-28th November 2013

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This exhibition at Stamford Arts Centre runs until 28th November. Inspired by  the title ‘Living on the Edge’ the artists have provided text that gives an insight into each work and the issues surrounding the subject they have depicted.

 

 

 

Deadline for donations to Birdlife Malta campaign

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Last month, during Malta’s controversial spring hunting season for Turtle Dove and Quail (the only one in Europe), more than 2,000 people helped Birdlife Malta raise nearly €70,000 to pay for a public information campaign in Malta that will ensure that enough Maltese people vote in a national referendum to stop spring hunting. This will save countless migrating birds, many of them rare and protected, that breed in your countries (or would if they weren’t killed in Malta).

They still need €30,000 to reach the €100,000 total estimated cost of the campaign.

The vast majority of donations have come from the UK (and US!), but many many other European countries have a personal interest in seeing Malta protect migrating birds.

Please donate anything you can to the campaign fund here: http://igg.me/at/stopspringhunting/x/6316451

PS . see posts by Kim Atkinson and Chris Rose below for more info.

The 2014 Langford Press Field Sketches Award is open to entries!!!

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Despite earlier confusion, the SWLA is pleased to announce that the Langford Press Field Sketches Award is running again this year and artists are invited to submit their field work for this great prize NOW! The deadline for last entries will be 5.00pm Friday 10th October. The Award is given to any artist of any age who shows a fundamental understanding of the subject through their work in the field.

The subject has to be of wildlife but this could encompass back garden nature just as much as exotic expedition work. The judges are looking for a body of work (maximum of eight pieces) that captures the essence of the subject which has been drawn from life. We are not looking for studio work. Open to any one who is inspired by the natural world, the work will be judged by Ian Langford and two senior members of the SWLA. The winner will be announced at the private view of The Natural Eye, the annual exhibition of the Society of Wildlife Artists.

Please click on the link below to complete the form for the Langford Press Field Sketches Award. https://docs.google.com/a/mallgalleries.com/forms/d/10aNRRSmoHQ9328DCLpzbZ1nNr6ckG3FnG0d-3Xxika0/viewform

Exhibition in Buckden 18th-19th October 2014

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Seven East Anglian members of the Society of Wildlife Artists will be displaying paintings, all of which will be available to purchase. The artists exhibiting are: Peter Partington, Robert Greenhalf, Brin Edwards, John Davis, Richard Allen, Bruce Pearson and Dafila Scott.
On Saturday 18th at 7-00pm there is a very special Wildlife Evening entitled “The Birds and the Butterflies”. Artist Peter Partington will give a talk on Birds and draw them ‘live’ (as recently seen live on BBC TV’s ‘ Springwatch Unsprung’) and local expert Nick Greatorex-Davies will give an illustrated talk on British Butterflies. Tickets are £8 and include a complimentary glass of wine. Box Office 01480-431037.
Profits will go to St Mary’s Church, Paxton Pits Nature Reserve in Cambridgeshire and The Bob Scott Memorial Appeal for Trans-Saharan Birds.
Lastly, we have made sure that the children of Buckden will also get a chance to join in! Two classes at Buckden Primary School will get a Masterclass in how to draw birds by Peter Partington on Friday October 17th. They will then get drawing and an exhibition of their drawings will be held in St Mary’s Church on November 8th from 10-30am-4pm.

SWLA print workshops 2014 – update 31/10/14

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.Drypoint - With Bruce Pearson and Greg Poole - Sunday 2nd November 2014 10.30 am to 4.30 pm
for full details please click here


Monoprints - with Kim Atkinson & Greg Poole - Sunday 9th November 2014 10.30 am to 4.30 pm 
Workshops are sponsored by Intaglio printmaker of London


Lino cuts - with Robert Greenhalf & Max Angus - Saturday 8th -November 2014 10.30 am to 4.30 pm

SWLA print workshops 2014 – DRYPOINT

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drypoint_1Drypoint - With Bruce Pearson and Greg Poole
Sunday 2nd November 2014 10.30 am to 4.30 pm
Drypoint is an intaglio printmaking technique where lines and a variety of other marks are incised (scratched) into the surface of a printing plate which is then inked and wiped and an impression taken on dampened paper
Using sharp steel points, sandpaper, glue and carborundum powder to create a range of soft subtle lines, deeper more velvety burred-edged lines, and roughening and changing the texture of the thin plastic plate surface to add tonal variety, we will explore as much as we can of this expressive and exciting drawing medium.
Please bring an idea, a sketchy thought or a drawing to start the creative process on the day, and wearing an apron or old clothes is advisable.  Materials will be supplied, (plates, ink, scrim, paper, drypoint tools).
Cost £60 (including a £10 charge for materials)
8 places available
To book a place please mail
darrenreesart@btinternet.com

Workshops are sponsored by Intaglio printmaker of London

The 2014 Langford Press Field Sketches Award

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The deadline for last entries will be 5.00pm Friday 10th October.
For full details click here.

Tributes to John Philip Busby 1928 – 2015

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John drawing I of May

 

JOHN BUSBY, RSA, RSW, was born in Bradford, and lived in Wharfedale where he developed his early interest in nature. He studied at Leeds & Edinburgh Colleges of Art. Postgraduate & major travel scholarships took him to France and Italy before he joined the teaching staff at Edinburgh College of Art in 1956. He ‘retired’ in 1988 to return to being a full time artist.

He exhibited widely, and is represented in many public collections. |He had a major retrospective exhibition covering all aspects of his work at Bradford City Art Gallery in 1999 and will have another at Nature in Art, Gloucestershire from 4 August to 6 Sept 2015

He was President of the Society of Scottish Artists (SSA) 1976-79, elected to the Royal Scottish Society of Painters in Watercolour (RSW) and to the Royal Scottish Academy (RSA).
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Landscape, and particularly the abstract geometry of landscape, was always the main focus of his work, but meeting Eric Ennion in Northumberland in the 1950s turned his bird watching hobby into what became a major part of his artistic output. A founder member of the Society of Wild Life Artists (SWLA), he was External Assessor for Natural History Illustration at the Royal College of Art, 1989-92 & again in 2000.

In 1989 he began a Seabird Drawing course based at North Berwick which has continued each year since, and he has led courses in Switzerland, Crete, the Falklands, Galapagos and at Nature in Art in Gloucestershire.

He took part in projects with the international Artists for Nature Foundation (ANF) in Holland, Poland, Spain, Ireland, India, Portugal, & Israel, and in SWLA/Forestry Commission projects in the New Forest & the Oak woods in the west of Scotland.

To his great delight, in 2009 he was declared ‘Master Wildlife Artist 2009’ by the Leigh Yawkie Woodson Art Museum in Wisconsin USA.

John illustrated over 35 books about birds and animals, mostly about behaviour, ranging from seabirds to tigers, garden birds to otters, and a book of poems – Wild Horses – by Kenneth Steven.

His own books are:-
The Living Birds of Eric Ennion (Gollanz 1982);
Drawing Birds produced for the RSPB in 1986, with a second edition in 2004;
Birds in Mallorca (Christopher Helm 1988);
Nature Drawings (Arlequin Press 1993);
Land Marks & Sea Wings (Lavenham 2005);
Landscapes at the Edge of the Sea (booklet) 2010
Looking at Birds (Langford Press 2013);
His last book Lines in Nature (Langford Press) is due to be published in 2015

John lived near Ormiston in East Lothian, and was married to Joan, singer and singing teacher. Music was an abiding passion and he was a lifelong Christian. He died peacefully, aged 87, on 3 June 2015.


 

An account of John’s funeral by Mark Boyd

The weather in Musselburgh was surprisingly bright and warm, which reflected the spirit of the occasion. Despite the obvious sadness at losing someone as special to us as John, the overall feeling of the day was of light, of love and of joy.

St Peter’s in Musselburgh is a 19th Century gothic-style church with a steeply pitched roof and stained glass windows. It is a bright space. Although its seating capacity is around 140, it was packed, with several rows of people having to stand, either at the back or looking in from various side doors.

The service was Christian, reflecting John’s strong personal faith, with the hymns sung being “Angel Voices Ever Singing”, “The King Of Love My Shepherd Is”, and “Christ Is Made The Sure Foundation”. As well as readings of Psalm 121; Mark 12; 26-34 and Ephesians 3: 14-21, two poems were read: “So What Is Love” by Monica Newell and one that I remember John talking about, “Going Downhill On A Bicycle. A Boy’s Song” by Henry Charles Beeching. I can’t find the former online, but the latter is in the public domain here. Read it, and think of John.

Members of John’s family and friends spoke eloquently about John, helping to round out the picture of a man that many of us perhaps knew from only one aspect of life. The four main strands covered were John’s family life, as husband, father and sibling (including his invention of highly imaginative childhood games); his church life, as committed Christian, youth worker and church treasurer (despite an aversion to admin); his musical life with Joan; and, of course, his artistic life. Darren Woodhead spoke well about this last aspect.

Rev Andrew Keulemans handled the service sensitively and was clearly personally affected by John’s passing. The feeling of warmth and thanks throughout the service and the dignified competence of everyone who spoke echoed John’s own air of well-mannered passion.

Following a private cremation, the congregation gathered at The Quay in Musselburgh, for a celebration of John’s life. The venue couldn’t have been better, as it looked out on to a muddy estuary with waders and gulls in evidence.


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Greg Septon

“Busby”
It was in the early 1980’s when I first discovered one of John’s watercolors in a shop in Edinburgh. Peter Summers of the Royal Museum & I had stopped there after lunch one day and there in the window was a rendering of gulls and cormorants – a lovely, subtle watercolor that captured the atmosphere as well as the anatomy, behavior and inter relationships of its subjects. My first thoughts were – this guy did his homework!
When I asked Peter about the artist, he smiled and asked of I’d like to meet him to which I replied “absolutely” and day later I met John and Joan. Their home that Robin so deftly described was a welcoming and warm place that exuded history, talent and calm. I remember visiting with John in his studio that day and marveling at the both the immediacy and confident application in his bird paintings and drawings and was blown away by the sheer volume of his work. His ability to accurately capture bird behavior including moments in flight were remarkable.
At the time Peter & I were the bird taxidermists at our respective museums and shared a true appreciation for John’s depth of knowledge related to bird behavior and anatomy and the ability to accurately and artfully portray that knowledge.
Over the ensuing 20-year period I traveled to Scotland often and the highlight of every visit was stopping by to see John & Joan. In 1994 John & Joan visited Milwaukee to take part in ANF’s opening of its Portrait of a Living Marsh exhibit at the Milwaukee Public Museum. One evening during their visit Joan sang for us around the fire pit which is something I’ll never forget.

On another visit to the Netherlands I recall John stopping along the roadside where he watched Ysbrand & I hunting in the adjacent fields. Afterwards without a paint brush to be had anywhere, John plucked a feather from a recently harvested goose and began using this to create watercolor field sketches of the fresh specimens at hand.
Over the years I was fortunate to acquire an additional number of John’s pencil sketches and watercolors four of which are behind me on the wall in my office. The red grouse coming up over a rise on the moors makes me flinch as if ready to shoulder a shotgun – the same for the flushing woodcock – both are captured moments in time that ring true. A watercolor of a peregrine in pursuit of a red grouse over August moors portrays that moment when the falcon slightly turns and brakes for a millisecond before striking its prey – John nailed it!
I’m in the midst of peregrine banding season once again and in addition to recording band numbers and related data, those in attendance usually assign names to each eyass to make them more relatable to the public who follow their lives for years afterwards.
In honor of John, I named the first male I banded this morning after him – his image is at the top of this page. John will be greatly missed but the influence he had on so many of us will live on.
Greg Septon


Martin Gibbons

I remember the first time I met John it was on the seabird drawing course. I had been learning field sketching and had bought hisRSPB book, reading it more times than I can remember. I then turned up at the North Berwick hotel very nervously , and there was John Busby standing there.  I was awestruck that I had the privilege of attending a course with such a great artist. Over the week  John could see I was a ‘beginner and new boy’ to this sketching game and he came over a few times and helped by showing me where a certain line would help and by doing so transformed my sketches. He gave a presentation on my first course which I will always remember , he talked about ‘ feeling the bird’ imagining it was in your hands,  holding the bird, feeling it’s roundness. His compassion was addictive, I thoroughly enjoyed the course because of John.

The next time I went on the course we had a few more chats and discussions and I remember sitting in Ducks hotel and John running through one of his  books with me while we had a cup of tea together telling me about each of the sketches  , I could see in his eyes the enthusiasm and joy when he recounted each page, how he felt and why he had done the sketch , occasionally with a little chuckle to himself

I suppose we met in passing but I felt we had a connection through sketching which is my passion and was obviously Johns , he was a master at it , and I am glad our paths crossed and I will always remember vividly that hand coming over my shoulder saying ‘ look closer , look at that angle and with a swift movement of his pencil there it was,

A great artist but most of all a remarkable person , compassionate and humble man and a real gentleman

I’m going this year and I’m sure his spirit will be with everybody walking about on the cliff tops at St Abb’s watching over all of HIS students

Martin Gibbons


John and Ailsa Potten

Whilst not an artist or member,  I thought you might be interested in memories of John.

My wife and I were fortunate enough to be at Minsmere in April 1997 during an event entitled Avocets and Artist.  We attended a demonstration of drawing birds by John and afterwards gave him a lift in our little Citroën AX from the then visitor Centre to the cottage he was staying in.  John popped into the cottage and returned with an Avocet sketch which remains with us,  now framed,  to this day,  along with a little Michael Warren watercolour we were lucky enough to obtain for a £5 donation!

A gentlemen always,  John will be sorely missed.

 


Anna Hughes

I have followed the school of John Busby for many years and am proud to own one original. His influence shaped a lot of artists and their works and many thanks to him.

Lara Scouller – Seabird Drawing Course bursary winner 2015

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Lara was one of 3 bursary winners in 2015 and has sent an account of the experience.

The two driving passions in my art are nature and drawing. I currently work in the medium of pastels, creating drawings inspired by zoological collections from museums in the UK and across Europe.
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I am grateful that the SWLA bursary provided me with the opportunity to participate in the seabird drawing course. The week of activities entailed field drawing at specific seabird colonies, drawing exercises lead by acclaimed artists Greg Poole, John Threlfall and Darren Woodhead who all provided excellent guidance and inspiration.
reDSCF0645Participating in the course allowed me to try new approaches, develop a new body of work and make connections with people working in similar areas. Since the course I have been enjoying exploring the east coast of fife, looking for new inspiration. I have become more attuned to my surroundings and the birds that inhabit it. I will be taking up an artist in residence on the Island of Shetland next year with the intention of drawing the large puffin colony.

The Seabird Drawing Course programme focussed on field drawing at specific bird colonies in North Berwick and the Firth of Forth, Scotland.
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During the course it took me a little while to settle into this new way of field sketching that required looking at bird colonies through binoculars and a telescope, proving difficult at first as it involved a lot of patience and concentration. The image through the telescope revealed subtle nuances of each bird whereby the pattern and colour were much clearer to me than any museum display had been able to offer before.
This new approach to drawing proved both a challenging and inspirational endeavour. It highlighted many strengths and weaknesses in my ability as a draughtsman, reigniting my passion for nature and working outdoors.
Gannet_Colony

There was a provocative tension between drawing an accurate depiction of a bird specimen and producing something more expressive. It highlighted for me that field drawing is an important skill to have and a good foundation to build on.
After completing the course, I returned to my comfort zone of working from museum collections and I realised the limitations of this type of approach. Whilst the museum environment has enabled me to develop my style within a safe and relatively controlled environment, it lacks the element of spontaneity. Therefore, the fleeting moments and sense of urgency to work quickly are imagined rather than experienced.
The seabird drawing course proved an invaluable opportunity to work alongside other artists who share a similar passion for drawing birds and facilitated further sharing of ideas and techniques.
The Bass Rock, Fidra and St.Abbs Head each offered something different in their unique characteristics both in terms of the topology of the landscape and bird colonies that reside there. After many weeks, I am still dreaming of the islands and their birds.

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The drawing course has equipped me with the confidence and necessary tools to further pursue this way of working. I am currently researching other locations in Scotland where I will visit and continue to tackle this elusive and challenging subject matter.
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See more of Lara’s work on  http://www.larascouller.com/

 

Printmaking course details

Becky Thorley-Fox – Seabird Drawing Course bursary winner 2015

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I love to spend as much time as possible outdoors, it is here I find endless sources of inspiration in both the landscape and wildlife. Over the last year or so I have tried to regularly draw birds from life in an attempt to learn to capture them as we see them and move away from the need to take photos. There seems to be no going back with this kind of pursuit, watching wildlife is captivating and I would love that ability to capture these moments in paint with life and energy.
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I completed my second artist residency at RSPB reserve Ynys Hir this year where I had the wonderful opportunity to spend time in a diverse range of habitats along the Dyfi estuary observing wildlife patterns and behaviour.
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I was very grateful to receive the 2015 SWLA bursary for the John Busby Seabird Drawing course based in East Lothian, Scotland. I had joined the course for a few days the previous year and had been so inspired by the enthusiasm of the group and the sheer intensity of the experience. I had never before witnessed seabird colonies on such a scale. The experience offered the opportunity to freely explore drawing from life with the encouragement and support of a dynamic group of artists and a seemingly endless supply of birds!
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This year the week was led by four tutors, Greg Poole, Kitti Jones, Darren Woodhead and John Threlfall. Their support, guidance and tuition throughout the week helped us explore and experiment outside of our comfort zones, challenging our perception and understanding of the moving form. There were evening talks and demonstrations which set the wheels in motion for learning as the week progressed- these were hugely inspiring. The tutors led discussions on form, anatomy, movement, flight, balance, composition, colour, studio development and more. In the mornings we were trying out drawing exercises that revealed our weakest points and offered effective approaches to drawing and ‘feeling form’. We did blind drawings, memory drawings, two pencils taped together exercises and other mark making exercises to develop the way we see, feel and interpret our subject.11722162_918820588163802_7301989760915224016_o

It was the first time I’d visited Fidra Island on the Monday. John Steel led us to the best spot for watching Puffins as they came in from the sea, beaks fully loaded, before disappearing into their burrows. This was an exciting moment seeing my first puffin! The Gulls moved through the foliage guarding chicks, a set of eyes and beak ready to attack, we had to move slowly to avoid a noisy onslaught of dive bombings. There was a huge Shag colony set amongst amazing rock formations at the edge of the island, many of us set up here with sketch pads and optics to study these charismatic fuzzy looking young families. I watched a tug of war, two against one, the single Shag triumphed and carefully placed the length of nesting material behind it. The young shags often appeared to be tidying up and arranging their nests, it was very impressive.
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We spent a very hot day at Bass Rock, this year thousands of Gannets were up in the air and the ground nesting Gannets had their heads stretched upwards, panting in the heat, I pitied the fluffier Gannet chicks that lay flopped outside the nests. St Abbs was equally spectacular, most of us spent three days here watching large numbers of Guillemots, Kittiwakes, Razorbills and even a family of Stoats were spotted, bounding across cliffs faces, defying gravity.
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The Seabird drawing course has been a huge inspiration- an experience that stays with you. A big thank you to SWLA and everybody on the course!

Claire Williamson – Seabird Drawing Course bursary winner 2015

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When I found out about the seabird drawing course through the Mall gallery website, I knew it was right up my street. I applied for the bursary and was very excited when I was told I had been awarded it.

Gannets of Bass Rock (640x483)
I always wanted to go onto Bass rock ( I had taken the boat around quite a few times but not been on it ) and I hardly slept the night before. Nothing can prepare you for Bass rock and its 170,000 gannets. It was their world, you were entering it and it blew my mind away. As soon as you arrive the smell and noise hit you – it was like all my senses were overtaken by gannet and I even fell asleep that night hearing them in my bedroom. It’s an experience I will never forget. I also enjoyed watching the birds flying alongside the boat we were on and watch how they moved in the air.Looking down (St.Abbs head) (640x501)

We visited other areas including St. Abbs head ( at the Scottish borders ) which has such a dramatic landscape shaped by volcanic activity. There were guillimots everywhere there.

Meeting place (640x473)
Sketching birds from life reaffirms and reminds me how much we can learn about them. Every birdwatcher should try this as they would be pleasantly surprised by how much more insight they gain. As a birdwatcher you think you know the bird until you try and draw it.

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It was such a great week with friendly, like-minded people. It was good to work alongside other accomplished artists and tutors who were there to give advice on artwork and their work practice. It made me feel more confident on what I was doing and after the course I felt an urge to create more work outside the studio. I have also made some good contacts and friends.

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It’s been a very positive experience and something I would love to do again.
www.clairewilliamsonart.weebly.com

Eric Ennion exhibition – Sunderland Museum

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An exciting-looking exhibition of the work of Eric Ennion (1900 – 1981), founder member of the SWLA and an enormous influence on many wildlife artists painting today, is on at the Sunderland Museum, Tyne and Wear, until 13th December. image001

The exhibition is free to enter and is open 7 days a week. Details from the website; http://www.seeitdoitsunderland.co.uk/ripples-house-shore


Events update & catalogue preview for THE NATURAL EYE 2015

Greg Poole – Over Gallery, Cambridge 31/10 – 28/11

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A selection of recent work including field painting, woodcuts & monoprints on show from Sat.31st Oct – Sat.28th Nov 2015. Greg will be at the gallery from 11-4 on the opening Saturday. All are welcome.
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Drypoint Printmaking late cancellations

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Sunday 8th November (10.30am – 4.30pm) - Mall Galleries, The Mall, London SW1

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There have been a couple of late cancellations for the drypoint course, so spaces now available. To book, please email Darren Rees
This should be a great days printmaking using the  rich and easy to use medium of drypoint. The course is led by Bruce Pearson , SWLA members Kim Atkinson, Greg Poole  and Darren Rees will also be taking part. For more details about the medium, Bruce has written this post.

£75 (tuition and all materials included)

Printmaking courses postscript

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A personal account of the monoprint and drypoint one day workshops held at the Mall galleries learning centre on the last days of the 2015 SWLA Natural Eye exhibition.

Bruce Pearson preparing a drypoint plate – photo jon perry www.arranginglight.com

Both courses were a great success I think. In the end we 3 tutors joined forces, this meant that we could share ideas/resources  and have more common ground for  future courses.
We all felt that the students would learn the techniques more quickly and in a more lively fashion if they worked together and without reference to any of their previous work. So everyone started out on level (but possibly unsettling) ground and the whole day could act as something to draw on when people returned to their studios.

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monoprint in progress, showing the paper hinged onto perspex block

Pairs worked on plates with the idea of ‘a game’, taking it in turn to make complementary marks, Applying ink onto perspex sheets in diverse ways and then possibly taking areas off or modifying them. All of this as a way of applying ink to paper in an indirect fashion via the perspex. Just trying things freely  that can later be used as a ‘vocabulary’ for making more personal work.

Kim gave a demonstration of how she might use a similar approach, interpreting a hasty field sketch to develop a large monoprint. Rolling out evocative colours of a linnet filled arable weed field…then taking out marks that represented linnet calls or seed heads…. all of of this setting up a space that linnets could then occupy.

Kim Atkinson demonstrating development of a monoprint from a field sketch

Kim Atkinson demonstrating development of a monoprint from a field sketch

To give people a shared theme to work from Kim had brought along a box of found objects (eg. shells, dessicated plants, feathers, skulls, etc). Students selected one and then contemplated this in silence for a few minutes. Amazing how potent this seemed to me… after all the busyness of the ink manoeuvres, to have quiet intense concentration. Seeming allied to the way we might watch when preparing to sketch.
They then wrote, rather than sketched, hasty notes on the qualities of the object rather than how it looked… or any associations it might hold.
This writing was then the subject matter for their final print.

_C0A5382REWS Drypint IX, © Jon Perry, 8-11-15 zaq

Bruce inking up a plate – photo jon perry www.arranginglight.com

Drypoint is probably easier to teach than monoprint. Scratching into a polycarbonate plate, adding surface texture with carburundum paste… the marks trapping ink which is applied with muslin like tarlatan and then carefully wiped to give rich contrasts of tone and texture. It is then printed, needing damp paper and heavy press pressure to emboss all the subtleties of the block. The various stages help to pace the class, where monoprint can seem rather open ended and rather hard to keep the reins on.

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preparing the drypoint block, a variety of ways of ‘distressing’ the surface, the yellow areas are ‘fablon’ tape, primarily for masking but also being used as ‘collographed’ elements

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Proof of one of the plates showing the rich range of ‘colour’ and texture that the drypoint gives

We got the students to cut their plates in half and swap them with their neighbours. They then joined the ‘foreign half plate’ with their own and intensively modified them before reprinting. The idea being that losing ownership of the image would increase how radically they might rework the imagery.

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working at individual plates after the silent looking

Thanks to Jon Perry who as well as making the drypoints managed to take some great photos (accredited above).

http://www.johnbusbyartist.co.uk/

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