Watercolour Leaf Printing

I knew there was a reason I'm a facebook user..... I ignore all of the depressing news stuff and follow some very interesting art related groups.  These groups bring together like-minded people who post all sorts of photos and information about what they doing in their art studios.  Sometimes I find some particularly tempting techniques, such as leaf printing using watercolours.

I give my acknowledgements and thanks to Karen Rush who posted in Craft Press Printmakers facebook group, where she introduced this technique that she learned from Rebecca Chamlee of Pie in the Sky Press.  

Its a straightforward process.  You paint dry leaves with watercolours, let dry, then print onto damp watercolour paper.  Its wonderful that something so simple can produce lovely results, without all the mess and fuss of the usual monoprinting processes.

I've shared this technique a couple of times with friends, and we've had a great time sitting around a table (social distanced of course!) painting, printing, chatting..... and then laughing over the ones that don't quite work.  

I'm grateful that at the moment we can gather together with friends to make art, but if you can't, please try it yourself.  Its a great dining table activity with children or if you have a spare hour or two.

To print the leaves, I used my Xcut diecut machine, but you could use any craft press or manual pasta maker.  You could try hand printing, but you may not get the detail of the veins or it might move around a bit.  Of course you can always 'tweak' the less successful ones with a fine marker pen and more watercolour when it drys.  Nothing is ever wasted!

Two colours on a grevillia leaf.
Leaves with interesting silhouettes and veins are best.

Two or more colours works best.
I put a layer of pink, let it dry a bit, then
added the paynes grey.

Yes this is a print, not the actual leaf!
I've found that the colour improves
after a few prints and re-inkings.
This one started with orange, then a mix of yellow ochre,
sepia then other colours I can't remember....
That's the magic of monoprinting,
it keeps it secrets well!

Beautiful colours and a bit of embossing too.

Applying watercolour, but
keeping water to a minimum because you
need the pigment to be strong.
Let dry before printing.

Another beautiful leaf! 
I think its the one I'm painting in the photo above.
These will make beautiful cards - I use double
sided tape to mount the print onto coloured card.

From Paddock to Mountain - Artist in Residence - Part 5

For two weeks I'm artist in residence at the Nancy Fairfax AIR Studio at the Tweed Regional Gallery in Northern New South Wales (Australia).

In my last post I was monoprinting mandalas with leaves then overprinting with a portrait of a scrub turkey using a polyester lithographic plate.

Over the past couple of days, I've been repeating the same sequences, but this time using a plate featuring my drawing of a magpie carolling (singing).

When magpies sing, they tilt their heads back to warble a beautiful melodious song, a long stream of musical notes like a flute, flowing up and down and around.  Check out this link to some audio recordings HERE.

I wanted to capture the joy of a singing magpie in my prints, so I used a pen drawing photocopied onto a pronto polyester plate.  I've used magpie imagery in my work before, but only as monoprint stencils.  Using a drawing on a litho plate gives me the opportunity to inject more personality and life into my image.

The downside is that I'm not a fan of editioning - printing the same print over and over is not very exciting.  I sometimes use too much ink or not enough ink.  And there is a high risk of ruining a successful monoprint when I print my litho plate over the top of it.

But I love my printing, and its always my happy place even if I only get one or two successful prints after a hard day's work.   All those 'not so good' prints make the successful ones even more satisfying and valuable.

Printing the litho plate over top of the monoprint.
The plate is transparent so its easy registration,
I'm using scraps of paper to keep the original paper clean.

This one has too much ink,so the Magpie has lost the detail
around his eye etc.
I'll wait until it dries and try a white Posca pen on it,

Not enough ink on the Magpie.
I can draw into the image with a black marker when it dries,
an easy fix,

This one is perfect, just the right amount of ink,

This is a monoprint that went badly wrong.  I put the magpie
mask/stencil on the wrong side.
That 'reversing of the image' printmaking rule caught me out
this time.  Arggghhh......

And this is where I fixed it.
Plan B - I printed the magpie litho onto a blank
piece of paper, then used that print to print onto'
my monoprint.
The magpie may need a little touch up with a marker pen when
its dry, but overall its a good outcome.
Never give up!  There's always a workaround.

From Paddock to Mountain - Artist In Residence - Part 4

For two weeks I'm artist in residence at the Nancy Fairfax AIR Studio at the Tweed Regional Gallery in Northern New South Wales (Australia).

During my artist in residency, I've been pleasantly surprised to see a lot of scrub turkeys in the area, on the side of the roads and in parks near the beach.   And its one of my favourite urban birds that have successfully and opportunistically been able to live alongside humans.  So naturally they had to feature in my AIR work.

This week I've also been working with mandalas.  In Sanskrit, mandala means 'circle', a spiritual or ritual geometric configuration of symbols or a map. The basic form of most mandalas is a square with four gates containing a circle with a centre point.

My version of a mandala is based on a circle. To me, circle shapes represent cycles in the natural world, so its a fitting metaphor for my leaf monoprints.

I've cut a circle plate (a dinner plate came in handy as a template), and using rainforest leaves have made basic monoprints using Paynes Grey - a lovely dark bluey grey.

Incorporated into the circle, or perhaps interrupting it, is a scrub turkey portrait.  I've made a drawing of the turkey, head and shoulders only, and transferred it via a laser printer to my polyester lithography plate.  When printing the circle monotypes, I've used paper stencils to reserve 'white space' for the spot where the lithograph will go on the print.  This white space around the turkey image helps to accentuate the turkey portrait and bring him into focus against the busy background.

Its been a few days of solid work in the AIR studio, but I've been able to create 7 prints.  I'm pretty happy with them, but of course I always reserve judgement for a week or two, before I decide which ones are worthy of exhibiting. Being monoprints, every print is different, some light, some dark, and the lithographs print slightly different each time as well.  That's what I love about monoprinting, the printing process is never boring...sometimes challenging....but always satisfying.

A monoprint plate is a beautiful object in itself.

Printing the circular plate with a turkey head stencil
to reserve a spot for the lithograph.

One of the completed prints.
I like how the leaves swirl around the turkey as
if he is building his nesting mound.

This print is interrupted by the fern image, lots of white space gives
a different feel to the print.

Next Post - the magpie prints!

From Paddock to Mountain - Artist In Residence - Part 3

For two weeks I'm artist in residence at the Nancy Fairfax AIR Studio at the Tweed Regional Gallery in Northern New South Wales (Australia).

Over the past few days, I've been progressing on my prints, spending from 9am to 4pm every day in the studio, with only a few excursions to get groceries and visit the gallery.  The location of the studio on the fringe of grassy paddocks is quite different - lots of open space with very few trees so the visiting bird species are limited to wood ducks, masked plovers, willy wagtails, sacred ibis, magpies and cattle egrets.  But they are great to watch and photograph from the verandah. 

I'm enjoying the change of scenery and being away from urban living, the everyday domestics and my usual routines, where I usually find many excuses not to focus on my art practice.

I have a few goals in mind with an upcoming exhibition and artist book projects, but its nice to also be able to pursue some loose ideas and experiment with techniques that I've had on my to-do list for some time.

My intention is to maintain my creative momentum when I return home, to change how I spend my time so I can work on my art more.

Enjoying the library at the gallery,so
many books, so little time!

Work in Progress

In the studio, my happy place!

And of course I took my bike, a great way
to explore the local area and
get some fresh air after a day in the studio

The view from my studio - sunset over Wollumbin (Mt Warning).
Its a shame the National Parks are closed due to the fire hazard,
but its important to protect natural areas (or are the closures
to protect the humans?).

The same scene, a few days earlier, during a bad
day of thick bushfire smoke.  Made for beautiful sunsets but
sad as well.

This young cow was giving me 'the look' as I
ate breakfast on the deck

A juvenile magpie attacking detritus in the paddock,
nope nothing to eat there!

A flock of Masked Lapwings (Plovers) hanging around the paddocks,
making lots of noise.

Next post - some of my prints, both good and bad!

From Paddock to Mountain - Artist In Residence - Part 2

For two weeks I'm artist in residence at the Nancy Fairfax AIR Studio at the Tweed Regional Gallery in Northern New South Wales (Australia).

My goal for this residency was to work on a rainforest theme.  Earlier this year, I was one of the artists involved in an arts/science BioBlitz at Mary Cairncross Scenic Reserve (see this post).  Mary Cairncross Scenic Reserve comprises 55 hectares of subtropical rainforest overlooking the Glass House Mountains in the Sunshine Coast hinterland.

Rainforest areas extend through several ranges and National Parks from Queensland down to northern New South Wales.  Many insect and bird species found in Mary Cairncross Scenic Reserve are also native to the rainforests close to Murwillumbah where my AIR Studio is located.

And so my plan was to walk through some national parks, observe the rainforest ecology, and stay cool.   Well, that hasn't quite worked out.   Currently, all national parks in northern NSW (and therefore natural rainforest areas) are closed due to the horrendous bushfires being experienced in NSW and Qld.  And due to the hot weather, they will be closed for a while.....so onto Plan B.

I found some small pockets of rainforest along the road verges, which enabled me to collect some leaves.  And I had very kindly (and fortuitously as it turns out) been given some rainforest leaves from the Mary Cairncross Scenic Reserve parkland.  So onwards and upwards, I got printing.

Printing with 'Thumper' - yay!  My happy place.

Inking up a litho plate.  The studio space is great,
with plenty of room for me to spread out.
Wish I had this set up at home!

A leaf mandala in progress, using rainforest leaves.
I've been looking at mandala iconology as a way
of expressing the connectivity of the natural world.

My next post will look closer at some of my works-in-progress and ideas as they develop.

From Paddock to Mountain - Artist In Residence - Part 1

For two weeks I'm artist in residence at the Nancy Fairfax AIR Studio at the Tweed Regional Gallery in Northern New South Wales (Australia).

Its a 2 hour drive from home, past the Gold Coast and over the state border.  The Studio sits next to the gallery, overlooking cow paddocks and looking towards the impressive Wollumbin (Mt Warning).

Throughout her professional life Margaret Olley supported many artists through mentorship and financial assistance. The Nancy Fairfax Artist in Residence (AIR) studio continues this legacy as an extension of the recreation of Margaret Olley’s home studio at Tweed Regional Gallery.

The Studio has a self-contained accommodation unit, with a large adjoining studio space. Perfect for a retreat to concentrate on my art practice.

The Nancy Fairfax Artist in Residence Studio

I've set up my printmaking studio with my portable etching press 'Thumper'. I'll be working on monotypes, polyester plate lithographs, as well as making notes and drawings.

The gallery is just a few steps away, so no doubt I'll be lurking around there quite often, particularly in the Margaret Olley Art Centre which also has an excellent library of art books.

I'll be posting several times during my residency so you can share in my creative experiences in this wonderful space.

Resonating with audiences

In previous blog posts over the past couple of months I have been posting photos and details of artworks for an artist book exhibition called 'Compassion' which was held during July and August.

One of the artworks 'Listening to Rain' sold during the exhibition.  I posted about the artwork here.

As it happened I was visiting the gallery when it sold, and it was lovely to speak to the purchasers.  I also received lots of positive feedback from many other people that passed through the gallery during the exhibition.  It seems that the concept behind the artwork and the quote from David Haskell's book 'The Song of Trees' really resonated with audiences.  I think everyone felt the connection of the author's words to the arrangement of the leaf monoprints.

And then I was approached to do a commission of 'Listening to Rain', as another viewer (on the same day) was interested in purchasing the work.  To repeat it or not.  I usually only like one-offs, which is why I love monoprinting.  I decided to take on the challenge to see if I could make another 'Listening to Rain', whilst retaining the essence and emotion of the original work.  I also had to remember how I put the first one together, a balancing act of hanging tape and waxed linen thread!

And after 5 weeks of work, 'Listening to Rain II' is complete.  It looks very similar to the original from a distance, but every detail is unique.  All of the leaves used for printing are different, the toned papers are different, and the repurposed wood used for the hanging is different. 

I hope that the new owners enjoy the work and are inspired like me by Haskell's words. And perhaps it might rain again one day as we are currently experiencing very dry and hot conditions (and its only early Spring!).

The printing of the leaves and feathers is the fun bit!

Laying out the  monoprints and getting
the spacing right - the tricky bit!

The completed work...SIGH.

Remembering Trees Lost

The local council is widening a road near me.  Road widening means the trees have to go to make way for bitumen, road infrastructure, and cars (including mine).

Natural habitats will always be at the mercy of human needs.  But in this case, I felt very emotional about one particular tree.  It was a beautiful eucalypt, tall and old, but healthy and resilient even though it was close to the road and a busy intersection.  Then as they started the road works, I noted it was on the wrong side of the construction fencing.  And that means its days were numbered.  This made me very sad as I reflected on its fate.  Then one day it was gone.

This event has inspired me to start working on a new series of monotypes.  My idea is to do multiple mini prints using individual leaves, employing repetition as a form of meditation.  Each leaf print will act as a metaphor for my desire to hold onto the memory of those trees, as if I'm trying not to forget them, and to remember the joy they gave me as I drove through that avenue of majestic gums.

I started working on these prints whilst on holidays at the coast. My print studio as always comes on holiday with me, this time I was able to set up my Xcut printer on the kitchen benchtop, so I had sea views as I worked.  I also used my holiday time to ride my bicycle to local bushland to collect leaves to print with.  I wanted to find ones that had character and would do justice to my idea.

I've ended up with a large selection of prints, I'm thinking that I will create a series of two or three artworks, loosely titled 'Memory of Trees' or 'Meditation on Trees'.    Through my artwork I will remember those trees, in particular that tall majestic gum on the wrong side of the fence. 

My art studio in the kitchen of our unit.

Printing on the Xcut.

The view from our unit.  

Out mountain biking, collecting leaves.
Can you see the Lace Monitor on the tree behind me?

Some of the leaf prints, I love repetition in monoprinting,
as every print is different.

Pulling the print and seeing the image is
so exciting!

The ghost image on the plate, held
up to the light... beautiful!

Another magical print.  I LOVE monoprinting!

I love how the leaf develops some gorgeous colours too.

Monoprint Alchemy - making inspirational books

Next week I'm heading down to Geelong (Victoria, Australia) to run a week-long workshop titled 'Monoprint Alchemy', where the participants will experiment and play with a variety of monoprint and print mixed-media techniques to create a themed coptic bound book.

Over the past year, I've been working on two sample books to take along, as well as running a trial project with few art friends where the outcome is they also produce their own book.  The idea of this trial was to be able to take along to the Geelong workshop samples of completed books, showing the diversity resulting from a range of styles, choices, preferences, and skills. To just take my books wouldn't tell the whole story.

As the project comes to a close, I thought I should show you the results of many months of working together.   And I must say, I'm both impressed and humbled by the outcome - a beautiful collection of books that each reflect the personality of the creator.

So a HUGE thank you to all of the girls.  And yes, I've managed to fit all of the books in my suitcase - 5kgs of them - I just can't bear to leave any of them behind!

Now I just need to think of another exciting project for next year to keep us all busy. :-)

Here we are showing off our wonderful Monoprint Alchemy books -
Wendy, Lyn, me, Joanna and Ngaire.  Karin was absent for the photo.

Don't you just love a stack of colourful coptic books? 

A sample of Joanna's "Garden Shambolic" book, with
a beautiful expressive drypoint print.  Her book is
all about her garden, featuring prints and snippets of plants.

Wendy's "Banksia Connections" book with cover-wrap.

Wendy's gorgeous cover-wrap made using Paper Cloth techniques.

 A collage of banksia leaf monoprints in Wendy's book.
Her restricted colour palette and repeated leaf imagery
link the prints together really well.

A sample of Lyn's colourful Japan inspired book, featuring
her original artwork, haiku poems and ephemera.

Ngaire's sublime book "Shore Lines" was inspired by her walks
along local beaches.

Ngaire's book features her beautiful poems on foldouts and popups.

Karin's book 'Leaf" is organic and earthy, with a beautiful
eco-dyed cover with a leaf monoprint.

My book 'Nest Feather Song' is all about birds.
I frequently use bird imagery in my prints
so it wasn't hard for me to find content for my book.

A spread from my book, with monoprints, drypoint prints,
zines, and pages from bird books.

This is my other book, 'Leaf'.  Karin also did this theme,
but our books are TOTALLY different, which shows that
each book is a creative artwork and a reflection of
the artist who made them.

A spread from my 'Leaf' Book showing use of printed
shipping tags (love them!).