Capsule / A folio of six photopolymer etchings with gilding and chine collé, work in progress
I thought I’d post a few images of work in progress from my latest series. A set of six photopolymer etchings made as part of my residency at the Centre for Print Research at UWE.
I wanted to create a folio of six prints that further my ongoing study into digital drawing and haptic making. I like the idea of seeing how the introduction of digital techniques into the traditional workflow may change or augment the outcomes of a particular project or set of drawings.
For this new series, I’ve been particularly interested in the idea of integrating some gestural ink studies with a set of sculptural 3d models on system, before printing them as photopolymer etchings with chine collé and gilding.
I’m fascinated by the way ink can be used in a very fluid, gestural way, especially with brush work, and I wanted to capture some of that energy in this series.
I like the idea that the drawings have been created from, and output as, inked images. The digital provides an opportunity to manipulate and model the ink in ways that can be both very loose and very structured, a move towards the impossible, as the system can model the ink in ways that couldn’t be drawn by hand.
Laser cutting a set of bespoke Perpsex combs for working the ink
Photographing the ink studies
Printing a set of digital proofs
Initial digital proof prints
I hope the series talks about spring, growth, nature and regeneration. Some of the drawings are derived from seed pods, whilst others are more flower like in their form. In either case, the work’s intention is to speak about the beauty and value nature can bring us in our day to day lives.
Testing for scale
Making the film work for exposing the photopolymer plates
Making the first test plates
Inking the first test plates
Printmaking in the CFPR with master printmaker Laura Clarke Oaten
Imaging the chine collé on Kozo paper
Proofing the work with the digital chine collé overlay
I’ve incorporated a digitally printed chine collé that adds an extra layer of colour and texture to the work, creating a kind of digital plate tone that focuses the eye towards the centre of the image, using Japanese Kozo paper.
Screen printing the size for the gold leaf work
Burnishing the gold leaf
The gold leaf is adhered using screen printed size, that overlays the original 3d studies. I wanted to gild the work in order to make it more emblematic of illuminated manuscripts, or gilded icons. Reverential works designed to celebrate nature and the natural world around us.
In total it's been a complex series of processes that I hope creates some visual intrigue. I love the idea of working with gestural drawings whilst simultaneously having tight control over the line work, tonal density and everything else!
I am of course massively indebted to the Centre for Print Research for offering me a residency, and for the time, help and expertise that master printmaker Laura Clarke Oaten has bought to bear on this project.
I’ll look forward to posting some more images later in the Spring, as the residency continues.
Until then, thanks for your interest, it’s appreciated.
With best regards,
Chuck Elliott
