Liam has a relaxed and creative teaching style and likes to spend one to one time with his students. There is music playing in the background and it adds the right ambience for an Autumn workshop. “Music is so important to the creative process” Liam confides. It doesn’t stop the conversation though – students and tutor maintain a constructive dialogue throughout the day, comparing papers, linens, inks and techniques.
All of the students on today’s workshop have discovered and developed new ways of working in monoprint – with and without a press. With each design, Liam has given them tips and advice to enhance and develop the artistic outcomes further. They are all lost in their designs when I come into the room; some at the press and some at their workstations. Some holding up plates to the light to inspect the colour and some arranging pieces of foliage or collage onto new printing plates. As Liam asks the class to join him in another demo, they come together to watch the next technique as a group and leave their current solitary creations alone for a while.
“Mono-print is almost like a build up to something bigger – a testing ground for future designs on fabrics and heavy archival papers, although some artists use mono-print as an art form in its own right” Liam explains. “The workshop today is all about creating an experimental body of work. Then it’s up to each student how they take it forward”.
Jessica Rose now divides her professional time between teaching and art (and the occasional cat!). She is a classic example of someone who has decided to embrace creativity not just for pleasure but as a profession too. She spent much of her early career as a journalist and then decided on a full time career change eight years ago to an artist. She has not looked back.
While Jess is an accomplished watercolour artist, and uses this medium a lot in her work, the call of print has never really left the journalist in her. This time however, she is on the other side, not producing copy to go into print, but producing art in print herself. This interest was sparked through learning to print at secondary school. She was lucky enough to have one of those inspirational and dedicated art teachers who spent quality time with students. This teacher was the first person that showed her how to take a complex process through from start to finish, hazards and all. She found herself playing around with dangerous chemicals, acid, naked flames, dust and hot wax at an early age. Jess comments “I’m not sure health and safety rules would be so tolerant these days!”
Jess talked me through the etching process today, like she used in the The Globe piece above, and it’s very specialised. Etching was originally invented to decorate suits of armour. It wasn’t long before artists, like Rembrandt for example, caught onto it. He became a master etcher. Many people are quite surprised to learn that Rembrandt’s fame and international reputation came from the work he produced through the etching process, not painting. As the 20th Century developed then many artists took up some type of printmaking - Picasso for example.
Jess explains that there are not too many print makers in UK compared with other countries. In the US, printmaking is more accepted as a fine art discipline, but less so in the UK. However, there are some printmaking methods that provide a quick and fun method to reproduce your own art. Linocut is one of these techniques, and one which Jess teaches. She explains just how accessible it is and if you need more evidence of its value, then check out Picasso’s work at the British Museum.
Jess is a talented watercolourist too. Pet portraits are a large part of Jess’s work and are great fun. She loves rescue animals – especially being around lots of cats through her work in a cat rescue centre. “They make really popular presents and whilst I often work from photos, I do try and meet the pet if I can. I want to try and capture the character.”
Laura was in residence at Ardington School last weekend teaching Japanese Woodblock printing to a group of very enthusiastic students. Laura’s courses are almost always booked up months in advance, and this pays testament to her reputation as a teacher. One student said to me ‘what a privilege it is to be here – Laura is so professional and talented’.
What is Japanese Woodblock printing?
Japanese Woodblock is a water based printing technique that takes practise and a real feel for the materials. It uses watercolour paint with all the demands that particular medium brings; most prints are a build-up of many layers, all of which have to work. That said, the results are enchanting and it is a true table-top method: no press and no nasty chemicals. You get to use some exquisite hand-made Japanese papers too. You can read more about the entire process on Laura’s website.