Those who caught a post in November on my work with Anne Vibeke Mou will have had a glimpse into one of the areas of digital imaging I enjoy the most.
To my mind, scanning paintings and drawings at very high resolution, in order to produce an Archival Pigment Print, is one of the real opportunities to let the digital medium sing.
When presented with a pencil drawing, such as this piece by Liam Murray, I see it as the ultimate challenge to ensure that the print I make is extremely difficult to differentiate from the original.
Scanned in ten parts on my Fuji Lanovia, I set about painstakingly stitching the elements together. No mean feat with so much detail and texture.
However, my workflow has been refined time and again over many years in order to perfectly achieve a truly seamless result.
Making the final print with my HP DJz3200 on Hahnemühle Museum Etching 350gsm caps off the entire process with aplomb…
This piece of Liam’s is undoubtedly quirky and he explains it for us here:
“The piece is called Caravan. I finished it in 2010. It’s a little anecdote on human endeavour. I like the metaphor of a dwelling built on a scaffold, an impossible scaffold. It’s a laborious and spectacular choice, with unclear motive and likely failure. Despite this, on paper at least, it exists.
“I enjoy finding these ironies and tensions in life. Sometimes the endeavour succeeds despite utter negligence, other times rigid efficiency results in disaster. Nothing in life is certain, but a desire to make sense of it persists.
“I have long been fascinated with the idea of the fluke, and the unpredictability of life. Stories of catastrophes and lucky escapes are reminders of how fragile we can be yet how optimistic we remain. My aim is to depict scenes inspired by that tension and irony. “Bad things happen to good people and good things happen to bad people.” This to me is a grand and playful paradox that might offer an insight into the root of my drawing.”
Over the past few days, I have enjoyed working with Rachael Clewlow on two of her new acrylic pieces—not least for my love of infographics!
You may have seen from my last post that my trusty Fuji Lanovia has been running ten-to-the-dozen lately. All the stops have been pulled out again for the scanning of Rachael’s works, each around 140cm long…
Scanned in several parts and meticulously stitched together, it is always my endeavour to treat the reproduction as sympathetically as possible; it’s a challenge to differentiate the pencil markings in my Archival Pigment Prints from the original, particularly where Rachael’s pencil signature sits beside printed elements.
Here’s an explanation of the pieces from Rachael:
“The UK map is made up of circles, each representing a place I’ve visited and colour coded for elevation (height of the land fall above sea level).
“It is comprised of 56 colours, which run from magenta through to a dark purple, contrasted with a yellow through to green.
“The map is above the key at the top of the painting. The key, below, is made in two parts – on the left hand side the towns/cities of which the map comprises are in alphabetical order, so the colours appear in a random order. On the right hand side the colours appear in tonal strips, yellow through to green and magenta through to purple, and represent the elevation.”
And the second piece? A map of London:
“This is taken from the London OS map. It is comprised of 56 places I have visited over the last few years along the Thames, through central London, some of them very well known others not so much.
“Each place is carefully plotted out and marked with a grid reference point and a target. Each target is colour coded and made up of two contrasting colours, going through the same colour spectrums as in the UK map. For example, a strong magenta and a lime green are paired together, and bluish/purple is paired with a strong yellow.”
In the latter part of this year, I’ve enjoyed working with David Todd on two of his fantastical drawings.
The high resolution scans of David’s work (made with my Fuji Lanovia) are as beautiful as ever, enabling the production of the edition—Twenty A1 Archival Pigment Prints on Hahnemühle Photo Rag 308gsm.
The latest piece, ‘The Battle of Waterloo’ truly is a sight to behold—the detail is so meticulous that the viewer sees something new every time.
Here is the drawing in its entirety, followed by photographs depicting some of the details within the print:
And finally, a glimpse of ‘The Battle of Britain’…