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Just in case you were thinking that I'd given up on the Mezzotint and sold the plate in for scrap, here is the first proof. In my usual dis-organised manner I had decided to take on a print that not having a press I couldn't actually print. So thank you to Lisa Moore for pulling these couple of proofs from my plate for me. (Have a look at Lisa's own excellent work by following the link to her website on the right).
So what have we got. Well, considering I haven't got a clue what I am doing, the image is there but it's all very blurry and still very dark in places. (Think badly developed black and white photograph). Actually the bits that I thought I had over burnished on the plate are the darkest parts of the proof, Which just goes to show how difficult it is to gauge what the printed image will look like from what can be seen on the plate. I suppose this will come with experience.
So it's back to the burnishing to sharpen up the definition and bring out the details in the gate, wall and barn in the middle distance.
4 comments:
It has a really lovely feel, though, Stuart. Very different from relief prints, of course... but still with that your strong design sense. I can't wait to see how it finishes...
This looks like a real skill, so lacking in these days of digital technology. I hope hope you manage to master it, and it looks as though you're well on the way to getting there.
Hi Sherrie
Yes it is very different from working in relief. With the relief prints I tend to stick to subjects with a strong design and pattern element. Hopefully I can use mezzotint to make some prints that make more of the atmosphere of the landscape.
Hi Keith
Things like mezzotint appeal to me. It's an old, slow and patient technique that's pretty obscure even among printmakers. I find it quite relaxing, almost meditative, slowly working away burnishing the plate.
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