Process

Though the images are produced using a variety of techniques, the linear process to producing a work is usually very similar, but as with all things, there are exceptions.

Photo / Sketch

Depending on the environment and time, either recorded on a digital camera (often waterproof) or a quick sketch in either pencil or watercolour and pen.

Choosing an image and editing

Drypoint Etchings

Start with a line drawing, and a plain line etch, if the image is to have colour, this is added as plate tone.
These can have further colour added to the plate or the finished print can be watercoloured.
All pieces are scanned so archival Giclee Prints can be made if that is part of the series.

Line Print
Plate Tone
Watercolour Finish

Polaroid Lifts

Once images are selected and edited, a Polaroid image is made, it is then cut out and lifted from the backing, using warm water and patience, then floated onto paper. Final Polaroid Lifts can be made from 1, 2 or 3 polaroids, adding the additional polaroids without lifting the previous ones is always interesting.

Shredded Wheat Factory
Transformer in Windfarm

Monotype – a ‘one off’ process

The Monotypes in the Quarantena series were produced by creating a reversed watercolour on an acrylic plate.
The dried image was lifted using wet paper and pressure.

Cyanotype – the original Blue Print

For Quarantena, a hand drawn negative was created using pencils and acrylic plate.
The coated paper was exposed, (depending on the weather, with sunlight or a UV lamp), as a contact print.
This can be repeated, but varies with how the paper is coated before exposure.

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