Printmaking with the 'Slama Hand Press , Linocut print.

'Black Dog' Artists Book by Louise Maclaren

Louise Maclaren's #Artist's book:' Black Dog' reflects aspects of depression in a series of limited edition #Linocut prints. #Mentalhealth is still under funded and the international WF mental health conference is coming up on the 17th-19th of October, Down under! http://www.wfmh2016.com/

Returning: but not back to normal,whatever that is?

    Collagraph attempts from last years City & Guilds Level 3 printmaking course.

 Things certainly got busy last year; I accidently on purpose did a printmaking course. As it turned out it was quite a' kick up the pants' if I can say that.

 One of my first themes was around portraiture in this age of digital media; exploring my curiosity with the selfie in intaglio print.

 Even in 2010 when I initially took the photographs used in my study I had noticed how aware of the selfie my Children were.They constantly took photo's of themselves in order to post them on social media. 

 I am pleased to say they have passed that potentially worrying stage.

 So  'naturally' I explored it myself online and then finally in printmaking.

The original Collagraph plate for 'Selfie' displayed with textural and

 colour studies in my sketch book from Nov 2013

'Selfie' one of my artists proof Collagraph prints. The background worked nicely

 however the face did not due to possibly applying an inappropriate texture to the plate.

Steve Puttrich: Blue Shadows on New Snow

Steve Puttrich: Blue Shadows on New Snow: Steve Puttrich © 2013 20” x 22” Oil on Gesso panel As warm morning light streams through a cluster of trees a playful stream of melting...

Lovely, so nice to see someone taking advantage of gesso panels for oil painting.

Art & Park Life on a May day

Photo's Copyright Louise Maclaren April 2010.

I like nothing better than seeing life happening from my Studio window. Immigrant families and their friends are having a wonderful game of cricket on this fair day in the park opposite my house. It is so lovely to see and I would dearly like to take some photo's for sketches for a piece of work. However I find myself thinking twice about it. Of course in this day and age we worry because people might think that we are more than a little odd!?
When I was studying art at A.S and Art foundation level, I thought nothing of sketching strangers in a park or railway station or on a train. I did not want them to know I was doing it because of the sudden attention I would get, 'ooh an artist! can I have a look?' Next thing you now what was hopefully a quiet past time has become a fiasco of fascination. Also rough sketches have little appeal to people who do not have any art training or a particular interest in art. They tend not to understand the importance of a sketch in the scheme of things or the many processes undertaken to produce a technically good painting (if that is what you are looking to achieve). Bearing in mind Art has many nuances and raison's d’être for being produced nowadays.
 Another interesting thing that struck me whilst noticing the nice scene in the park today was: that the mixture of immigrants we have here in our busy little North Norfolk ex railway village from Lithuanians to Seeks, Hindus, Turkish, Russians and Poles all Play games together outside when the weather is nice and they are always happy! It seems however that we as a nation are less inclined to get together and go out and really play.
 I think that perhaps the rise of Technology and the 'have it now attitude in our society' is more advanced in the western world, whereas many of these people perhaps come from places where the community as a whole is still key part in their lives?

Judy Scott Artist & Performer....R.I.P (An accomplished yet little publicized artist- Singer/Performer,Painter,Sculptor & Friend)

 I am emotionally distracted today. I have a lot to do, only fifteen days until open studio starts.
I was in my garden yesterday evening when a friend of mine Saffron, popped her head over my fence. She told me that they had lost Judy. I went blank for a minute. Then realized that she mean't her mother in law, who is also a friend of mine. It is only now just sinking in.
 Judy Scott was an amazing woman; a night club/cabaret singer, and an accomplished painter, printer and art teacher. She sadly had recently become so badly crippled with arthritis that she could no longer produce even the monotypes, mono printing and block prints she had hoped to. She made a brave effort to continue in the way she did.
 When I last visited her sometime in march 2013 with my partner the painter Paul Harris, she was as lively and sociable as anyone half her age, insisting on serving us Green tea and delicious biscuits despite her condition. Her wealth of knowledge on her subject come through with keen interest and wit. However there was also another side to Judy that I also liked and that was her fascination of the esoteric.
 When I first met her in April 2010 on a lovely warm sunny evening at an opening party for The Bluejacket Workshop ; I can remember how engaging and friendly she was and it was actually a conversation about dresses that got us talking initially:- we both admitted freely after complementing each other, how it is amazing what you can find to wear even on the slightest budget if you have the courage to carry it off!
 With our art in common we often met up at various functions and I visited her at her home quite a few times. Although sadly I did not get the chance to know her better I feel that I owe a lot to Judy.
  She encouraged me with my work in a way that I could totally relate to. She told me that it wasn't until she was 48 (the same age as I am now) that she was really able to start her Art career. Her children had started to become less dependent. She had also been separated like me and understood what it was like to try and get on with a career and the daunting task of bringing up children on your own. She was a total inspiration to me. Someone I truly admired. Paul really took to her too. He met her recently when we collected  her old mangle printing press she had given me. I am so glad I have it now, it will be a practical reminder of her generosity of spirit. I nearly didn't take it because I could borrow Paul's press but it would mean I could only use his sometimes as I would have to travel quite away to do so. Despite that Judy encouraged me by telling me stories of how she used to be running prints off at night and how helpful it is when you are working hard to also have a press on site!
 She was just starting to give little insights of her artistic life to us on that visit, discussions about sketching people and how monotypes are made.We had both said that we would love to go back and visit her soon. She said she felt more comfortable at home in her circumstances rather than going out these days, as it was getting difficult for her to manage visiting places that were not so geared up for people with her condition.
In her striking Monoprints, Monotypes,yetchings & Block Prints, you can see clearly in Judy's work where her influences come from: theater, performance, circus and her surroundings. 
  She told us that she used to sit in the theater sketching during productions and rehearsals at the Pavilion theater on Cromer pier  not far from her North Norfolk home.
 Her prints have a sort chiaroscuro effect that consolidates the atmosphere of her subject matter with a the skill and observation that reminds me a little of Toulouse-Lautrec in an immediacy that gives them so much life and character all in her own style.
 Her Sculptural skills should not be underestimated either, only a few years ago she produced beautiful figures out of Twisted and formed news paper  (probably Mache, soaked in Glue). These figures are mostly of Circus performers, clowns, dancers and dogs, exquisitely modeled and painted. Judy had these on display during her open Studio in 2010 and I believe in 2012.
 Sadly I can not yet show examples and there is little on the internet about her yet. Perhaps one day with kind permission from her son Luke and the family I will try to add images of this important but underestimated artist.
 I can only say also how sorry I am for their terrible loss. On our last visit we also met her charming ex husband Richard Scott, who had been devotedly visiting her nearly every day to make sure that she was alright. I feel honored to have been touched by such an extraordinary family.
Many many People new her from her life classes, the Norfolk Art scene and generally around and about the area. The impression I got was that she was much loved and considered a lovely person with plenty of character. I am sure she will be sadly missed.

Restoration of a Regency Sofa part 2: Finishing the Parcel Gilding.

At last I was able to finish this rather long term restoration project:- The repair and re-gilding of a beautiful Regency Sofa.
I am pretty pleased with the results and it was worth all the hard work!
Juggling life with two teenage children combined with family life over Christmas meant that the holiday season was; as far as work was concerned put frustratingly on hold!
There is a lot to be said for a studio and workshop that is separate from your home, even if it is just a few hundred meters away! I can see why people like their garden sheds! The only difference is; for me getting work done is crucial for my livelihood!
Thankfully my ever patient customer; a friend and Local Antique Dealer has a good collaborative and altruistic attitude tempered with appreciation and contentment for the quality of work undertaken.
So here are some of the final stages of completion!




A very battered right hand side.
This sofa was sympathetically restored to Museum standards leaving most parts of the original gesso and gilding with exception on both front legs where they combine into the arms. These had been very badly smashed in places due to them being in a place of high stress from wear and tear.I had to rebuild quite a bit of them. A very small percentage of wood had been replaced and joints had been fixed with dowel and traditional hide glue (known also as scotch glue),wherever possible in order for ease of future restorations. Other Synthetic glues; although strong and waterproof are harder to remove and can cause more damage to the original piece during removal. However woodworm treatment is one essential modern product that I would rarely overlook! especially as it can put other customers furniture at risk not to mention anything wooden including bits of your house!?!




The clay Bole Stage.
Clay bole is Mixed from very fine natural pigment clay and rabbit skin glue heated gently in a bain-Marie. I mixed several different clay's together in order to obtain the original Colour which lies underneath the gold.

Sympathetic Restoration:How to decide.
I think one of the primary things to help with the decision on what to save on something old really comes down to its condition and acceptance of natural wear and tear form age being part of its charm. Otherwise presumably you would be buying something new would you not?
From a restorers point of view; stabilizing something in order to preserve it is one of your primary concerns, coupled with the all important task of cleaning it and removing old deteriorated restorations. Usually when the cleaning is done you will get a clearer picture of what is left to preserve because you can see what has actually happened to the piece during its lifetime.




Gilding.
Water gilding was used as opposed to oil gilding because it is was originally used on the sofa. Also it gives a lovely effect. There are different purities and colours of gold you can use, so it is a question of matching gold to the original piece as near as possible. Old gold was thicker and often hand beaten and gives a slightly different look to some of the modern gold leaf available today.
A mixture of weak rabbit skin glue, very strong proof alcohol and water is brushed on whilst thin loose leaf Gold is applied using a gilders tip. The Process is tricky and requires practice as gold floats off even with the slightest of breaths! It also has to be cut into smaller pieces usually on a special pad. it has to then dry for up to 12 hours before lose bits are removed and it is burnished in order to make it really shine.



Burnishing.
The gold is then 'burnished' with a tool that has a highly polished agate stone in it. This not only polishes the gold but also the Red bole clay underneath giving it the effect of being shiny solid gold.



Finishing touches.
The new gilding was 'distressed' (worn a little) to blend it in with the old original gold. It was then waxed polished along with the exposed wooden areas to protect it and give it a final luster. Gilding of this nature where either wooden or painted areas are left showing is known as parcel gilding.
The Sofa has now gone to the upholsterer for it's final touch! And I have my studio space back! So I can continue with my design for an etching 'Flight of the Spoonbill' for Open studio 13. I will be posting about this soon!
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