Gulls, surf and monoprints - a process

 

Process for some new monoprints   surf and gulls   ©2026LisaLeQuelenec

Using the sketches from my circular sketchbook as a jumping point I spent a rather fun day making some monoprints. Not everything worked - and that is good as it means lessons are being learnt - but some did. So not only do I have some new prints for the Folksy store but I also have a pile of 'not quite there yet' prints to work into in mixed media which I am just as excited about. I am particularly excited about the prints made in the second pass with the circular mask removed. The resulting subtlety of the circular motif is something I think I can manipulate further.

Below are some of the pairs of initial prints with their second pass partners - I really like the second pass for the different sketchy marks and where there wasn't enough ink to transfer as I think it suits the subject in this case. I have lots more ideas to play with that will keep me busy.

 

Process for some new monoprints   surf and gulls   ©2026LisaLeQuelenec

Process for some new monoprints   surf and gulls   ©2026LisaLeQuelenec

Some of my gull series are available at RedBubble in their different reproduction print formats. As framed prints which style of framing do you prefer?

Surf Spray Gull series   available at RedBubble  ©2026LisaLeQuelenec

A gentle tide - monoprint

 

A Gentle Tide   monoprint 9.5x9.5cm   ©2026LisaLeQuelenec

Ohhhh I do love monoprinting! It is such an immediate and responsive way to work and generate ideas. I love the diffused tones that can be achieved....drawing with ink .....the suggestive marks...the messiness of it all (at least when I do it).

This is one of my favourite ones from a recent monoprinting session. It has the movement of the tide that I was aiming for. It is available here in my Folksy store.

New Coastal Monoprints

 

Winter Moon   monoprint 12.5x12.5cm   ©2026LisaLeQuelenec

More monoprints from recent printing sessions....

 Moonshine   monoprint 12.5x12.5cm   ©2026LisaLeQuelenec

A collection are available in my Folksy store.

Ran's Daughters - Blóðughadda first steps and experiments

 

Colour inspiration - ©2025LisaLeQuelenec

Daughter no.1 Blóðughadda ;

Mixing ink and applying with a palette knife   ©2025LisaLeQuelenec

I began with mixing my inks using quite a bit of extender to aid transparency. To apply the ink to the lino block I used a palette knife varying the thickness of ink and intuitively laying down the colour. Whilst the initial image is starting as a lino print my intention is to layer different materials and techniques to result in a mixed media series. The print process will achieve a variation in textures that will enhance further layers.

The first six prints showing variations in ink application ©2025LisaLeQuelenec

 

You can see from the first six prints the variations in colour and tone. There is also good variations in texture between very fine flat ink and thicker raised areas and bare paper, this will make interesting surfaces to work with other materials.

I printed a few more variations, my intention is to make some art books (a page for each daughter) and it feels right that there will be nine - maybe with Ran linking each page, or possibly to present each of the daughters mounted as one image. I am sure I will disappear down a few rabbit holes along the way. It feels good to be working on a big long term project. 

I have started using one print and drew into it with coloured pencils, pencils and ink. I am still feeling my way a bit. A minutes sunshine drew some lovely shadows across the page.

Colour inspiration - ©2025LisaLeQuelenec

Experiment I - Ran's Daughters - Blóðughadda   mixed media   ©2025LisaLeQuelenec

Submerge / Descend monoprint and mixed media

 

I was itching to play with my usual inky blues so indulged myself for a day with some monoprinting...

Submerge monoprint and mixed media 9.5x15cm   ©2024LisaLeQuelenec

Details from a lino stamp used in pebble monoprints   ©2024LisaLeQuelenec

I enjoyed experimenting with layers of thick and thin ink and how they interacted. I used lots of ink extender for very thin and transparent layers (it works much like glaze medium in oil and acrylic painting). Once the prints were dry some pebbles were collaged in and extra white ink drawn in to enhance the light/current/flow. I wanted the feeling of being pulled gently under water.

Descend I -IV   monoprint and mixed media 9.5x15cm   ©2024LisaLeQuelenec

The same prints just playing with layouts - seeing how they speak to each other/if they speak to each other.

Descend I - IV   monoprint and mixed media 9.5x15cm   ©2024LisaLeQuelenec

Sometimes erosion seems to happen quickly and violently as in a storm but sometimes it is the persistent, gradual and slow process of wearing surfaces over many years that leads up to the big event. I think this is true of painting/printing too. Some days you feel like you have made leaps in your work but it is all the days where tiny little steps have been made that are important to get to your goal. Slow and persistent - the message that I take from the sea.

The two prints at the top in the above photograph are available in my Etsy store  and the lower two are available in my Folksy store.

Flow monoprint and mixed media

With the Easter holidays over and my son back at school I have been getting busy reopening my Etsy Store. Amongst the new works available are pieces from this pebble project including the three pieces below. 

Flow I   21x30cm mono and mixed media   ©2024LisaLeQuelenec

These pieces have proved so difficult to photograph. I have tried so many backgrounds and on so many days with differing light but I think this is the closest I am going to get. In reality the backing paper of the prints are a couple of shades warmer but the pebble shapes are accurate on my screen. These are a mixture of print, collage and drawing on A4 Lokta paper.

Flow II   21x30cm mono and mixed media   ©2024LisaLeQuelenec

Flow III   21x30cm mono and mixed media   ©2024LisaLeQuelenec

Tracing sunshine reflected from my mug - a timed drawing   ©2024LisaLeQuelenec

From the photographs above you can see where some of the inspiration for the drawing came from. The sun was shining brightly (briefly) through the window and reflecting on a mug of pencils on to the desk top. I traced the reflections onto a scrap of paper then about 30 mins later as the sun had moved slightly and when it reappeared I traced again. I would have kept going but the sky clouded over and the rain came. I will set up another drawing on another sunny day and trace the sun's progress across the sky in it's reflections, It might be an interesting experiment and result in some interesting distortions.

Rockpool lino series continued & my 600th post

 

Rockpool   lino print on paper   ©2023LisaLeQuelenec

I thought I would share a little more of this rockpool series. I have been printing slightly larger compositions on A4 paper and adding in some more different motifs. I love the delicacy of the seaweed, I think they are a good contrast to the more solid shapes of the pebbles and limpets. Other shells are starting to appear in this little ecosystem. I might be slightly in love with little yellow winkles ;o) they are appearing in all of these larger compositions.

I might try out some spicy hot colours next - yellows, rusty oranges and coral. I dabbled with this combination in the A5 ones but might try upscaling that palette again. I struggle with the hotter end of the spectrum so it will be a challenge. Notice how I said coral and not red - red may be a step to far! Red makes me feel out of control and a bit shouty. Do you have a colour that you avoid in your work? 

Can you believe this is my   600th   post!!! I certainly can't. What a bloggerversary! I feel like I have made so many friends online - we might not get to meet in real life but I feel no less richer for that. Thank you for reading along and to the people who take the time, I appreciate all your comments. To all those who don't I appreciate you too! Thank you.

Carving and inking the plates for the Rockpool Series  ©2023LisaLeQuelenec

Rockpool   lino print on paper   ©2023LisaLeQuelenec

All four A4ish prints in the Rockpool series as well as the smaller prints are all available in my Folksy store.  Best wishes.

Rockpool series - lino monoprints

 

Rockpool Series   approximately 14x20cm lino monoprints   ©2023LisaLeQuelenec

I have sadly neglected my blog this last few weeks due to a number of things - just life keeping me out of mischief rather than paint or ink - but I haven't been completely idle. A new series of work is underway which is really quite different to the gulls I had been painting. With the arrival of longer Spring days and a little more sunshine I have been feeling the season. Of course I am still roaming the coast but I have been turning more attention to rockpools and the memories of the ones we explored in Jersey on my last trip....back to limpets and limpet rings, summery colours and the joyous feeling of long Summer days. Fresh breezy colours and simplified shapes are dominating at the moment with a little green creeping in at the edges.

Rockpool Series   13x17.5cm   lino monoprint   ©2023LisaLeQuelenec

Rockpool Series   approximately 14x20cm lino monoprints with added drawing  ©2023LisaLeQuelenec

Added drawing and mark making and then with the promise of some hot sun to come....golden yellow. All the images here are available to purchase from my  Folksy Store. I am enjoying this series immensely and can see lots of ways for it to develop so I will get back to my sketchbook and try a few more experiments, I wonder which path I will take next.

Rockpool Series   approximately 14x20cm lino monoprints with added drawing  ©2023LisaLeQuelenec

A failed monoprint...a nugget of inspiration - WIP

Study for where the wild things are   monoprint and mixed media 15x15cm   ©2023LisaLeQuelenec

Below a failed monoprint...with potential....I worked back into it with coloured pencils and acrylic paint... a nugget of an idea is forming... I think the scale needs to be bigger...I want to stretch my wings a little...

Gulls and cliff   monoprint  15x15cm   ©2023LisaLeQuelenec

Gulls, storms and monoprints

 

A little monoprint experimenting has been occurring... thinking in ink...sometimes unexpected things happen which lead to new ideas to explore. That happened with this print below. The plate for some reason known only to the gods of print slid in the press making these lovely marks suggesting cliffs. My work is usually of the sea from the shore or clifftop but now I am thinking in terms of from the sea/sky. Ideas are percolating slowly forming more thinking in ink is needed....

Listening to the Wind   monoprint and mixed media   ©2023LisaLeQuelenec

The print below on the left is where I had been intending to go. A monoprint with an embossed gull shape in the lower margin. I am still toying with the idea of including text within my work, slowly trying things out and experimenting. The version on the left is a digital copy with added text.. I am unsure so have photocopied and written on it/tried a fully digitised version in photoshop...I am still unsure. What are your thoughts? Which do you prefer? I think maybe in this image the text is a little too big and obvious....? I will live with them for a while.

...and the gulls cry...   monoprint and mixed media   ©2023LisaLeQuelenec

This print was pulled from the plate after the one above, I added and wiped extra ink to the remnants, playing with marks. If the one above was as the storm was building then this one would be the storm from within. Same composition very different energy.

 Storm Spray   monoprint and mixed media   ©2023LisaLeQuelenec

For now I will go back to thinking in ink, exploring, pushing pulling the ideas and experimenting to see where it will lead.

Swooping and circling - gull sketchbook page and monoprint

If you spend any time at the shore you will find yourself watching the gulls swooping, circling, gliding and diving. I feel I may just have some gull in my genes as I circle back to them in my work again and again. I am mulling over how to approach it this time around.

Sketchbook page - gull studies ©LisaLeQuelenec

Old sketchbook pages - looking back and moving forward - looking at shapes and trying ideas. At the end of a project I store all my reference materials, sketchbooks and experiments and notes in a folder. I often return to subjects when something new catches my eye or an idea for combinations or new connections are made. Sometimes just revisiting a folder strikes up new ideas on its own. It is good to have all the visual stimulus in one place waiting to be plundered again. 

 I think some monoprinting may be in order to think in ink.

Gliding   13x13cm monoprint   ©2023LisaLeQuelenec   


This monoprint is available in my Folksy store.

Arriving storm - drypoint with collagraph

We have had some spectacular weather the past week or so...lashing rain, howling wind, there have also been some breathtakingly beautiful sunsets. I love Autumn and all its changeability, I am looking forward to seeing the changing colours. It won't be long now I think.

The storms have been quite something and have been prompting some new work.

Storm at Sea   14x14cm drypoint with collagraph monoprint   ©2019LisaLe Quelenec

A mixture of techniques have been used to make this print - there are areas of drypoint and collagraph and due to the disintegration of the plate in the sky area each time it travelled through the press, each print has altered and arrives at the other side appearing quite different. I like the idea of the plate physically eroding like the coastline it is depicting in the storm.

This print is available at Seaside Studios UK.

Cloud monoprints and mixed media - an experiment with technique

In the clouds   foil covered plate on the left and monoprint with mixed media on the right 12x12cm   ©2019LisaLeQuelenec

Finally the ink was dry enough to take some photos and move onto the next stage..... Above are some results of a fun mornings experiment. I was short on time and needed to be inventive as I had run out of acrylic medium. I had had an idea and was desperate to get something down on paper but without the medium to seal a plate I needed a work around in my approach.

I had read a while back about a technique called foliography where by you lay down leaves, grasses and organic matter onto a plate and cover in tin foil before inking up and running through the press. I think the idea is that the foil adds strength to the delicacies of the plate and by not varnishing it you aren't adding any accidental brush marks that could detract from subtle veining etc in the plant matter. I wondered if this idea would work for me and thought I would give it a go.

Using a 12x12cm piece of greyboard I 'drew' a quick design with a hot glue gun. The glue dries very quickly and so I could quickly move to the next stage of covering the whole plate with some tin foil. (The one I had was quite a thick one, I think the thin stuff would tear a bit too easily.) Carefully as I wrapped the foil onto the design I was burnishing it into the recesses of the plate and smoothing out any little wrinkles that could hold ink where I didn't want them.

Glue gun design on mountboard (detail) ©LisaLeQuelenec

On the left is a close up detail of another plate I have waiting in the wings to be experimented with.  This one is on a scrap of mountboard so you can compare, I hope, the  difference in depth between the board and the glue. The plate I used for this experiment had some areas that were very thick like this one.




Then I inked up the plate with a brush and wiped with a rag, taking out highlights and sometimes adding a bit more ink here and there. Now to run it through the press (using dampened paper) .... It worked pretty well and I managed to get 5 prints before the glue started to move around and tin foil began to wrinkle under the pressure of the press.

So not a great technique if you wanted to make an edition but for very small sets or for monoprinting and generating ideas I think it has its merits. Speed of plate making being the most useful - I can see with a bit more playing how this could be useful to do in a workshop situation when you are always working against the clock.

One of the things I particularly liked about using the glue gun to make the image was the variety of mark that could be made manipulating the glue and the very deep emboss that could be achieved. This is definitely something that I will utilise again. I wish I had had the forethought to make an impression without any ink at the start - I have made a mental note for next time.

In the clouds   monoprint and mixed media 12x12cm   ©2019LisaLeQuelenec

The ink on the prints took the usual ten days to dry so I impatiently waited to work back into them with colour pencil. After seeing the depth of the emboss I knew this was something I wouldn't be able to resist. It also meant that I could carry on experimenting and exaggerating the tonal and colour differences that began in the inking process. I now have more ideas to develop at a later date maybe in print or paint - I will let them percolate a while before deciding.

We have had some spectacular rainstorms the last couple of days and are forecast the same for the rest of the week. I was caught out yesterday walking the dog in rain so heavy that I couldn't see for a few minutes. It was really quite extreme. Watching the build up of cloud and the changing light before hand was quite dramatic as were the flooded roads on the way home. The rest of the day was pretty much blue skies and sunshine. more clouds to ponder....

Turning tide - ghost print and mixed media

Turning Tide III   monoprint ghost print and mixed media 17.5x23cm   ©2019LisaLeQuelenec

I have been working into the ghost prints from last weeks post. In reality the colours are too saturated and subtle for the camera to pick up, it has made it look very grainy and the subtle aquamarine is lost. Whilst trying to adjust the image digitally to a truer representation (not very successfully) I played with cropping the image. I might try some different versions using this format next time.

Turning Tide III (crop)   monoprint ghost print and mixed media 17.5x23cm   ©2019LisaLeQuelenec

We are in the midst of a heatwave so I am keeping in the shade and wallowing in these blues.....there may be more to come.

A little monoprinting... Turning Tide

Preparing a monoprint plate for printing   ©2018LisaLeQuelenec

I wish I could share the smell and sound of sticky ink as I roll a blend of colour. It is a very satisfying part of the process for the senses. The plate is a sheet of perspex (acrylic) the edges filed down and the corners rounded off. With the ink blend rollered on I begin to draw and paint with brushes, making marks and feeling the drag on the darker ink over the colour blend. Using a rubber tipped tool I make further marks lifting off areas of ink which will show as the white of the paper. The moon is a paper mask placed on top. Now it's ready to run through the press.


I place the plate face up on the metal bed of the press, line up a piece of dampened paper on top and cover over with a thick felt blanket. I turn the crank feeling the resistance as the plate and paper pass through the roller of the press then the give as it passes through the other side. Lifting the blanket and carefully peeling back the paper is always a moment of anticipation... you can never be 100% certain what will appear.

Turning Tide III   monoprint 19.5x27cm   ©2019LisaLeQuelenec

This time I am pleased, the blend has covered well and there is a nice variety of marks. So after removing the paper moon mask and without adding or removing any more ink I run the plate through the press again with another piece of dampened paper to get what is called a ghost print.

Ghost print ©2019LisaLeQuelenec

There is much less ink to transfer onto the new piece of paper and a much more faded image results. I love these ghost prints for drawing on and playing with ideas for new work. They have become a part of my process now.

After cleaning off the plate of the remaining residual ink I am ready to start again. Once more a blended roll of colour the drawing/painting on top with a brush, removing ink, adding paper masks. Placing the print with its paper and blanket in the press and running it through. I almost always take a ghost print before cleaning the plate and starting the process again.

I find it a very meditative process but after a half dozen or so prints I start feel a little tired and my concentration starts to lag. Then I stop - look over the prints that I have made, take some quick photographs, evaluate and them place them within sheets of tissue paper that are then sandwiched between heavy boards and wait for them to dry. This can take a couple of weeks depending on how thick the ink is on the paper. Every few days I will change the tissue over for dry sheets and pop them back to bed between the boards.

Turning Tide II   monoprint 19.5x27cm   ©2019LisaLeQuelenec

Turning Tide I   monoprint 19.5x27cm   ©2019LisaLeQuelenec

The original prints are available at Seaside Studios UK on Folksy  and reproduction prints and cards at RedBubble.

The beach to themselves

The beach to themselves   collagraph monoprint and mixed media 19x14.5cm   ©2018LisaLeQuelenec

Two collagraph monoprints with added coloured pencil - experiments with materials. I used a variety of materials on the collagraph plates - mostly different textured papers. For the sand ripples above I used sandpaper and in the piece below I glued loose sand to the plate before varnishing. It has given very different effects. As always it seems with collagraph the art is in the inking - I continue to learn with each and every print. It is such a satisfying process.

Last stroll of the day   collagraph monoprint and mixed media 19x14.5cm   ©2018LisaLeQuelenec 

Both are available at Seaside Studios UK on Folksy.

Transformation collage and monoprint

Transformation I  monoprint and collage   29.5x21cm   ©2018LisaLeQuelenec

Transformation II  monoprint and collage   29.5x21cm   ©2018LisaLeQuelenec

Following on from Ebb and Flow I and II a couple more compositions using monoprint this time. I like the different kind of marks with direct monoprint and the feathery line quality because I did those sections on a textured watercolour paper it is more pronounced than it would have been on a smoother surface giving a softer feel that contrasts with the harder lines of the pebble shapes.

I will start to add these to the Etsy shop over the next few days and make some from the series available as prints and cards on RedBubble.

The pebble project is progressing well and there is much work in progress. However waiting for layers of ink to dry is getting a little frustrating. It means that posts may end up being a bit like buses with lots to share in one go with big gaps in between :o)