Thursday 20 October 2016

Jurassic coast jurassic coast moon
Jurassic coast  mixed media and etching 10x3.5cm   ©2016LisaLeQuelenec

A tiny tiddler of an etching plate - an experiment on a scrap no bigger than two fingers. The plate just has the outline of land shapes and a horizon. A sketch - an idea - a nugget to mine in the future maybe. Who knows? Commissions are keeping me very busy so Murphy's law says that my brain will throw lots of ideas out whilst I don't have the time to develop them and when I do have the time they will disappear in a wisp of smoke. I am burying these gems in a sketchbook for later prospecting.

Saturday 15 October 2016

Flowing to the sea II - collagraph and mixed media ©2016LisaLeQuelenec
Flowing to the sea II   29x29cm collagraph and mixed media   ©2016LisaLeQuelenec

A change of palette and a change of mood. I can't fail to be inspired by the autumn colours that are starting to appear. I love the golden light of autumn as it burnishes the landscape.

Thursday 6 October 2016

Flowing to the sea.. Lisa Le quelenec ©2016
Flowing to the sea   29x29cm collagraph and mixed media   ©2016LisaLeQuelenec

This is one of my favourite views of Autumn, looking from the back of Hengistbury head to wards Christchurch across the reedbeds. I love all the contrasting textures of the land and the sound of the wind in the reedbeds. It always feels so peaceful to me.

collagraph plate  ©2016LisaLeQuelenec
I made a collograph plate on a mountboard base using different textured papers and painting glue on in the highlighted areas. Some areas I cut into the mountboard and peeled back the layers to reveal the texture of the inside of the board. It was then sealed with shellack.

Inking up the plate was a joy. Rubbing different colours into the pits of texture and giving a wipe of different colour to the high points to give variagated colour and really show off the textures to full advantage - never quite sure what the final result will be.

After running the plate through the press with dampened paper and leaving the print to dry I decided to work back into the image with coloured pencils, pastels and acrylic paint. The embossment made by the plate on the paper when it passed through the press was beautiful to work on. Small scumbles of pure colour to visually mix in give a rich surface quality - there is quite a bit of pure yellow and orange contained within the reed areas but they are such small dashes they don't jar the eye and would be missed if absent.

I have two more prints that I would like to work back into in this way. The next one I would like to use a more traditional Autumn palette of ochres and siennas for a different mood. It's an enjoyable way of working with many possibilities to explore.

I have made this image available as a reproduction print on Fine Art America and here at  Red Bubble.