Lisa Le Quelenec Seaside studios paintings, prints and mixed media: night

Showing posts with label night. Show all posts

Thursday, 12 June 2025

New Prints available at RedBubble.

New images available at RedBubble. Currently there is a 25% discount sitewide so you can treat yourself to these or any other piece for less. The offer ends soon...

Thursday, 24 October 2024

A new print edition in the making...Silence & Snow

I have had an image whirling around in my minds eye, a seed that has started to grow for a while. There is a very early version, more of a sketch at the time from some years back that I have always had on my list to explore further. Recently I have decided to just get on with it - enough with the procrastination.

Below is the scribbly sketch of the idea.... you can see the folds in the paper that gave me guidelines for the composition using the rule of thirds. I am very much inspired by Japanese woodblock prints, the style and minimalism, and although that doesn't show at all in the sketch I think it will be obvious in the prints.

Thumbnail for Silence & Snow

Before printing the carved block I printed an uncarved block to give a base colour using very thin ink. For the initial prints I don't want to show any of the white paper - I'm sure this will change as I explore further and experiment with different colours and tones. My thinking is to create different versions using colour, extra elements and possibly adding tissue paper chine colle at some point. I would like to evoke the magical gloaming as night falls, hazy, misty and frosty nights, possibly a few prints inspired by the recent Northern Lights displays, then maybe warmer winter sunshine. Can I do all of these with one image? I want to experiment to find out, I haven't done this using this technique before nor on this scale which is somewhat larger that I have done before in print.

This is one of the first prints with the second layer added. I felt like something was missing and out of balance - I wasn't getting the depth that I could see in my mind...

Using a small piece of the soft carve lino I cut a third mini block of tree silhouettes to add to the right of the composition. This gave much more depth and balance, now to experiment.

This is one of the first prints that I felt happy with. I like the looming distant trees and the frosty haze that is lighting up the sky as it descends. I have printed on my usual bright white paper but it didn't feel right with the warmer blues so I have ripped the edges of the prints up to the image margins and mounted them on a warmer off white paper for the warmer blues and a softer white for the cooler ones. I think if I continue to do this it will give some continuity to all the prints in the series despite some big variations in colour and other additions. It will also add some opportunity to contrast a different texture with the backing paper that will show when it is framed.

Cropping changes the composition and feel of the image, I might go back into the square versions and add additional tree silhouettes in between.

I have just a few prints that I am happy with so far and will add to both my Folksy and Etsy stores. In addition I will put a version on RedBubble as I think it will work well as a holiday card.

Any way this has very much kept me out of mischief, what do you think?

Tuesday, 11 October 2022

11 That blue - acrylic on board

'That blue will always be there as it is now, after all man's destruction is finished.'

Georgia O'Keeffe

Available in my Folksy store.

Thursday, 18 July 2019

A little monoprinting... Turning Tide

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.

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.

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.

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

Wednesday, 15 November 2017

A medley of work from the last few weeks....

A virus has been keeping me away from work so I haven't progressed as far as I had hoped to with the gulls. I thought I would share a collection of some of the work that has been going on in the background whilst the gull experiments have been going on - all these pieces are available at SeasideStudiosUK

I'm not sure why a ball of string...it just looked like it needed to be drawn and one thing led to another...

Monday, 30 October 2017

October Moon

Boo!

It is Halloween after all...

Thursday, 20 July 2017

July's moon and a big storm

Another moon inspired painting - trying to capture the beautiful hazy and subtle coloured rings that surrounded it. There is something very restful and calming about painting night scenes that I really enjoy.

This painting is available on Etsy at Seaside Studios UK.

Reproductions are also available in different formats both framed and unframed here.

I previously wrote about July's moon being named a thunder moon by some people. We were certainly treated to a spectacular electrical storm that lasted many hours in the late afternoon and stretching into the night on Tuesday. The rain was very heavy as the sky lit up. I didn't venture out but watched for some time from inside. I imagine had I been on the cliff top I may have seen something akin to this as the torrential rain started to move in;

Wednesday, 12 July 2017

July's moon and Indigo

This month's full moon was a real treat! It was big, bright and beautiful. The last light of the setting sun combined with the inky cloud made for a lovely colour combination of palest aqua, indigo, cobalt and soft ochre and sienna. It was quite a display. Trying to sketch in the dark so that I could watch all the colours changing was quite a challenge and I really couldn't do it justice but it was fun to try anyway.

I have read that some Native American tribes call the full moon in July the Thunder Moon because of the hot and humid storms that can arrive at this time. In Europe it was sometimes called the Mead Moon, (a drink made from fermenting honey, yeast and water.) because it occurs at the same time as larger honey yields. I know parts of the country have had a good display of storms but whilst it has been hot here and we have had our share of rain to clear the air there has been no thunder or lightening so far - we do have many honey bees busy in the garden though.

After night sky watching I have been inspired to paint the velvety blues and a set of inky coloured watercolour shells have been the result. All six are available individually at Seaside Studios UK

Thursday, 27 April 2017

Submerged in the Sky - the moon and Neruda

I have been playing with some new ideas somewhat inspired by a translation of Neruda's 'Ode to the Moon', the idea of the moon being '...submerged in the sky.' is appealing as always its reflection on the ocean is a motif that seems to be constantly evolving in my work. I have been monoprinting and the process has taken over and so it developing and metamorphosing and blending with other strands and lose threads of work. I'm not sure where I am going with it but it is interesting none the less to let the process determine the direction.

These are available as reproductions on Red Bubble or Fine Art America

Thursday, 19 January 2017

monoprinting birch trees

The first monoprint of the year! I have been really enjoying markmaking with monoprint recently experimenting with a combination of applying ink and different tools to take the ink off and draw into it. Birch trees are a favourite winter subject and feel a good fit for these first pieces.

Initially I rolled a layer of ink mixed with extender for a little transparency onto the plate before wiping off some trunk shapes. Then applying ink with a stiff brush I added the trunk markings in. The rough grassy floor was fun! I added a little more ink and scratched into it with sharpened sticks, a supersharp pencil point and toothpicks.

I wanted a really sharp and bright white moon so cut a paper stencil for this. The thickness of the paper has meant a darker edge to the ink surrounding the moon but I quite like this as it adds to the contrast and I think it needed something hard amongst all the lost and found edges through the rest of the image.

This image is available as a reproduction and stationery on my Redbubble site

It is also available here on Fine Art America.

I managed a ghost print (running the plate with leftover ink again through the press with some slightly damper paper) only adding a little extra ink to the trunk markings and lower corner of grass. Once the print had dried I worked into it with watercolour and coloured pencil introducing some colour and neutralising some of the harder darks adding more form into the trunks. I liked the way the pencil picked up the texture of the inks where it had printed thicker in some areas. I think this is an avenue well worth exploring - a big adventure for the start of the year - the results could be very exciting...

seasidestudios@hotmail.com ©2017LisaLeQuelenec

Thursday, 15 December 2016

Seasons Greetings & Happy Holidays

December started and I'm not sure how it's managed to speed past the halfway mark already but here we are! I'm signing off now for this year and will be back in January. A very big thank you to everyone who has helped and supported me throughout the year I wish everyone who celebrates a very happy holidays and toast the New Year to come - I hope it is happy, healthy and successful for all. I look forward to seeing you in 2017.

Thursday, 20 October 2016

Jurassic coast

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.

Thursday, 16 June 2016

Mangata monoprints - exploring the theme

Three monoprint explorations on the mangata theme. They are experiments in technique as much as concept. There is something very meditative and calming about trying to capture this idea which I hope comes across in the images. After using paynes grey oil paint in the previous posts drypoint I treated myself to a new etching ink by Charbonnel in the same colour. This is what I have used in Mangata I & II below. It's a little bluer in colour but perfect for this subject I think.

Sunday, 30 August 2015

Full moon and birch tree drypoints

The above painting is an old favorite of mine, I really do like this theme and often revisit it. So I thought I would use it as a starting point for a small drypoint using a metal plate instead of acrylic. I have also been enjoying working in a circular format so set myself the challenge of combining the two elements.

A set of five prints is the result. Each one a variation in colour and tone. I am doing these as an open edition as I might do another few impressions. I don't think there will be many more than this as each time the plate runs through the press the burr gets more worn and the prints will be less clear.

All are for sale at my Etsy shop seasidestudiosuk.

Thursday, 22 August 2013

Tuesday's moon

What a treat to see such a bright and beautiful full moon on Tuesday. It was a stunner! There's not been much time for painting this last couple of weeks but I have managed a bit of sketching... I like making back runs in the clouds.

For some interesting factoids about this Blue Moon and its other names click here. The next one isn't until 2015!

Wednesday, 16 January 2013

An experimental recipe for 'failed' work

Take one failed ghost print (a second pressing of a monoprint with no re-inking) and add some coloured pencil.

Add a little more coloured pencil and a little more each time it will burnish the colours underneath building a nice patina of marks.

Add a few extra marks to suggest the patterns on the tree bark.

Crop.

Adjust contrasts a little by digital means.

Result: either a good starting point for a new painting or something that could be digitally printed as a finished piece. Of course it is very likely that this piece will be filed into a sketchbook where it will either mature resulting in a mellowed, full bodied and well thought out concept or it will be chucked out never to be seen again like yesterday's moldy bread. The jury is out.

The proof of the pudding: Whilst I don't think this will end up as a digital print, I think the original is far to rough to scan well, I am intrigued by certain aspects. I really like the way in which the trunks run off the bottom of the page - they seem to disappear into a snowy foreground which is somewhat topical at the moment. (I saw at least two flakes fall this morning which is a bit of an event in my part of the world.)

For anyone interested below is the first print that came from the plate. I'm still trying to get to grips with getting the consistency of the new inks right for successful prints but I am having a lot of fun trying. I will have to put in another order for paper soon as I am really getting through it. Keeping things simple and thinking in very basic shapes and marks is the way forward I think for the moment.

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