Print Workshop Two: Return of the Lino

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I’ve finally gotten around to digitalerising (it’s a word) the second and third stage in our Print Making Workshop at Uni. Yeah sure, technically it finished weeks ago, but I’ve been busy. Besides, good things come to those who wait and other such justifying clichés.

So First up was Lino Cut time. Now I’ve had bad experiences with Lino Cut in the past, in that I was forced to give it a go as part of our GCSE Landscapes project in art class. Bear in mind, this was in a school where the facilities were not geared up to cope with the ambition of print making. I don’t know if you’ve ever tried to cut out a seascape from a chunk of lino with an old craft knife and the point of a compass (I shit you not) but it is not a creatively invigorating experience. I suppose it was character building to an extent, and it gave me a new appreciation for my health given the worryingly high chance of contracting Tetanus or losing digits, but I can’t really say it was an artistic high point. Needless to say, the project was swiftly abandoned when it became obvious (both to me and my teacher) that is was going to look shit.

As a result, I’ve been stubbornly against Lino Cut ever since, turning my nose up at it in my Foundation in favour of screen print and other seducingly exotic and more health friendly forms of image making.

So this was not one I was looking forward to. But, like a good student, I purchased my strip of lino and haphazardly scribbled out  a design. I decided not to make my distaste too obvious by ignoring the possibilities of colour, but equally wanted to keep the process to a minimum so I could be done with it quickly, and found 3 colours to be a decent compromise.

Now, I’m a fan of print making. I love screen printing and I couldn’t be much happier with my first attempt at etching earlier this year, but I had just assumed that this love was to forever be reserved for the more elaborate and high-tech forms of print, and Lino just wouldn’t cut the mustard. Let me tell you now, I will one hundred percent eat my proverbial hat. I will eat it with my face smeared in proverbial egg.

Lino Cut and I have worked out our differences and decided to give our relationship another shot. It’s on the provision that never again do I attempt it without the appropriate materials, but that’s the great thing about mistakes; you learn a big, fat, hand bleeding lessons from them and use said lessons to make improvements.

I love my Lino outcomes. They’re bright and fun and were easy to produce. I found the process enjoyable from beginning to end, discovering the gouging of the lino to be pleasantly therapeutic and indisputably pleasing when all went to plan, and the inking of the plate was just as quick. A quick wipe of chosen colour onto the stone, a few seconds rolling it out into a thin, tacky consistency and you’re ready to (rock and) roll straight onto the lino. Whatever you’ve cut out remains clear, only the spaces left behind catch the ink and then you can begin your process of layering colour over colour, gradually removing sections of plate until an image has built up. It’s at this point that you can give yourself a big old pat on the back for successfully accessing the appropriate side of the brain that deals in spacial awareness.

There’s even a mini press for the mechanically obsessed such as myself. It’s not as big as the Etching beastie, but it’s Becky sized and still creaks in that endearing tone of the past, when processes like this were a necessity, not just a novelty.

3 Colour, 2 Stage Lino Cut. Green on white, black on green.
4 Colours, 3 Stage Lino cut. Yellow on white, green on yellow, back on green.

I enjoyed it so much, I shelled out for a bit more paper in order to have a few more outcomes. When I made this decision, I’d already cut out my first layer, so some of my prints consist of 3 colours, some 4. Either way, I’m proud of the results and am really happy I approached it with an open mind rather than stuck to my original convictions.

For those who are interested, the image is an absinthe bottle as it was Toulouse Lautrec’s beverage of choice. I attempted to echo the stunted shape of Lautrec, due to his deformity, in the bottle and used the hat to reinforce this.

Alright, maybe not the best print in the world, but damn good fun and an important learning curve I reckon!

B

x

Caterpaulted out of the Comfort Zone!

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Okay, so today I’ve taken a break from the robots and boxing animals that is preparation for Comiket to work on something that is SO, TOTALLY different I think I might have a stroke. Basically I’ve been working with Lucy and Carrie of fashion blogging fame to help them with some bits and pieces for their new publication, WishWishWish.

That’s right. Fashion. I did a fashion thing.

I know it’s not my usual area of expertise (I’ll get back to you when I work out what IS) but it’s good to broaden your horizons I reckon.

Here are a few of the spot illustrations I’ve been working on for a piece on freelancing within the industry. Hopefully the girls are happy with them. And if not we can just blame it on the fact that I have no idea what I’m doing eh? Win Win situation.

B

x

Hands up if you Hate Bedtime?

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We got set a project a few weeks back to pitch some kind of product to a panel of “judges” (tutors). Dragon’s Den Style to those who are familiar with it.

It was a pretty neat project, I decided to be completely unadventurous and one hundred percent predictable and stick with what I know. SO I put my efforts into producing a pitch for a series of children’s books, kind of like a dark Mr Men (not Little Miss though. We all know they were just a cheap money-making move. Little beetches more like…ahem)

And thus these guys were born. The Little Nightmares.

The idea is (yeah, there was one of those) that it’s a brand aimed at tackling bad behaviour in children come night-time. It’s like a whole subculture or misbehaviour; there’s so many variations of getting out of going to bed that I thought I’d characterise them. Each of my Little Nightmares is a different personification of night-time issue, and each book follows a short story about them being naughty and, ultimately, rectifying the behaviour and becoming well behaved.

Well, that’s the plan anyway. Obviously we only had to present the idea so the books haven’t TECHNICALLY been written yet. But some pretty artwork’s been done.

And that’s the important thing…right?

The one who WON'T STAY IN HIS OWN BED.
Fraidymare is afraid of the Dark. He's not so much naughty, but is still disruptive.
This Guy is the kid who always asks for a glass of water, or another blanket, or a this, that and the other.
Monstermare is the one who makes you search for monsters under the bed, in the cupboard, under the rug etc. Every night. For 45 minutes.

  I pitched it at four books currently, although the intention is for the series to expand exponentially.

It’s one of those great things that can keep going for as long as kids are misbehaving…so pretty much until the end of time.

I also went on a lot about the potential for merchandise.

I don’t know if you’ve ever tried to make money off the back of books (specifically independently published books) but I’m telling you now, it doesn’t happen. Any return that would be made on this mythical Dragons Den money we were asking for, would most likely have to be made almost solely on the subsequent merchandise that the brand could potentially generate. Luckily, as it’s all about the night-time, it leaves itself open for that kind of thing. Not only in toys, bed covers, night lights etc, but also in company collaborations with various institutions that specialise in either children or  night based products. For example, getting the characters on toothpaste and toothbrushes etc.

(See? I thought about stuff!)

But the books weren’t the only aspect to my brand. I did a fair amount of research into the issue of kids misbehaving at bedtime and realised there isn’t actually a whole lot of help for parents who have these problems. There’s websites like the NHS and shows like Super Nanny, (I slagged off the Super Nanny website A LOT. Because it’s shit.) But they seem to talk about bad behaviour in general and I’ve known kids who are perfectly well-behaved 90% of the time, but just hate bedtime. (Understandably I think. It’s boring.)

So I included a website plan in my pitch. Somewhere that has the aim of, not only furthering the child’s relationship with the characters but helping parents too via a parent portal of hints, tips, advice, forums etc.

So that was more or less my project. I hadn’t actually intended to take you through my presentation, I really just wanted to share the artwork, but apparently today is a digitally enhanced verbal diarrhoea day so there you go.

I’d like to carry on with the idea to be honest. There’s no reason why the books can’t be made and added to my ever-growing list of books and fanzines I’d like to sell. Won’t be in time for Comiket this April, but that’s just one of many event’s I’d like to take part in, so keep your eyes peeled in the future.

Now I just have to actually write them….huh.

Fraidymare said it.

B

x

Etching Workshop: Episode Two

Posted on Posted in Illustration, PrintmakingTagged , , , , , 2 Comments

Long ago, on a blog post far, far away there was a sneaky peek at my etching plate for my current print workshop. It was brown, it was murky and it was waxy. But today I bring you news of an entirely different nature. Yes friends, today my etching plate is a shining, silver creature, a proud showcase of acid bitten channels and far, far too much time spent wiping, cleaning and  polishing.

Basically, it levelled up.

With the power of science, it was baptised in acid, which bit through those little scratchy lines of mine creating ditches in the metal in which the ink catches in the printing process. Which is pretty rad, let’s be honest. I mean that’s pretty hardcore, cartoon style acid right there, to munch it’s way through a sheet of metal. I mean, that’s like Who Framed Roger Rabbit stuff. But real. (Please bear in mind I haven’t had any contact with science lessons now in 6 years. Acid is a great novelty to me. As are bunsen burners.)

   Once the dangerous bit has been done, the next step is cleaning off all the wax so that the plate is left all polished and shiny with some new dents in it. Once all that prep’s been done, it’s time for the science lab to step aside so that we can get our art on. And this is, of course, the messy bit.

 Unlike my nice, clean buddy screen print, etching is one of those demanding little buggers who requires the use of oil based ink. This is, in my experience, a bit of a dick because it has the ability to get LITERALLY EVERYWHERE, and tends to make a habit of doing so (there’s a chance this is actually just down to my own incompetence of course.)

 So we start by spreading the ink over the plate with a little cardboard scraper, followed by blotting it into the grooves so that it catches. Then you wipe it all off again. It does feel like a thankless task, given that  you’ve literally just put it on there, but it does get pleasing as you reveal the inked up lines underneath; a little hint at how your resulting print may look.

  And when you’re all ready to go, you get to play with this guy. He’s a laugh.

  The plate get’s laid on the board, with your dampened paper laid over the top, then held in place by the mad heavy, and even madder expensive, blankets. Then you turn that giant, beautiful, victorian wheel and revel in the sheer mechanical mastery of it all (…actually that might just be for people like me, who harbour an adoration for early 1900’s mechanical devices.)

This rolls the board through the rollers that flattens your print plate to the paper and comes out the other side a brand, spankin’ new print. Brought into this world by your own bare hands. (With the help of a bit of acid and fuck off massive bit of steampunk technology.)

And thus we have print!

I’ve done a fair few of them now, practicing with how much ink to wipe away, the effect when the ink is left on the plate less ink, more ink etc so hopefully by the time I’m finished I’ll be a little etching master.

It’s a thoroughly enjoyable process resulting in beautiful, and oddly atmospheric, images. Alright so maybe it isn’t entirely practical for multiple book illustrations or anything like that, but for one of prints, or a series of prints, it’s more than adequate. And I’m so pleased that finally in my artistic education I’ve been introduced to it.

As I said in my last post, it’s oddly satisfying knowing that the process itself has changed so little from it’s conception. After all this time, it still has a place in the world. Even if that place is just the hearts and studios of artists and art students.

Well, for now, while I’m lucky enough to have access to facilities and machines like this, that’s good enough for me. And I fully intend to embrace it.

The Plate vs the Print

B

x

Snappy Snaps in Photography

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So…I totally did a thing.

To be more precise, I rented out a manual camera (a Pentax K1000 for those that are interested) and I learned how to use it (sort of ).

My aim was to have two photos, one set up and one observed, that translated an example of a figure’s relationship with their environment. Now I know in the world of le blog it’s a little unheard of, but I do have very limited experience with cameras. Yeah I have one, and I can take and image and shove it up on the computer screen (then subsequently Photoshop THE SHIT out of it), but in terms of really understanding how to use a camera like a tool, I’m about as experienced as a spoon. And at least a spoon has the excuse of not having any hands.

So hopefully you won’t judge me too harshly when I say that it was a pretty new experience for me. And I honestly was taken a little aback by the difference between a digital and manual photography. As you would expect, I found myself planning every tiny detail to such a high degree, and paying so much more attention to the composition of each image. I really found myself engaging in the creating of an image, much more so than I ever have before with a camera and it completely changed my view of using photography as an art form.

In short, I learned that to take good photos, you have to think about it. Go Figure.

Then, of course, you have the following process of converting your 35mm film into negatives and creating your contact sheet, judging exposure times, filter strengths, exposing, checking, adjusting, checking again, dodging, burning and all the other laborious steps that go into creating an authentic, manual camera experience.

It was long, it was dark and it was, at times, quite repetitive. But I’m really fond of my resulting images. They are mine: from beginning to end and for the first time, I could look on at a set of photographs in the same way I look at a drawing, painting or print.

That’s not to say I ever doubted that photography was an art form. It’s just that I had never engaged with it in the same way I have with other forms of image making. I’m very far from being a good, or even half way decent photographer, but I think it’s a really good start.

Like I find with a lot of things, I really did have to understand the bare bones before I could truly appreciate the process.

So is this the way forward for me? Hell no. It was long. REALLY long. I’m well and truly sticking with my digital for the most part, but I feel like I’ve gained a new-found respect for the little guy, and anyone who knows how to use him.

Well done Uni. You taught me a thing.

And hopefully that comes across in the resulting photographs.

Like with anything, the screen can never quite get across the subtleties of the image, so you’ll just have to trust me when I say that they are actually quite nice. Promise.

B

x

What? Some people are allowed TWO talents????

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Okay, this one is gonna be a bit of a love fest.

I just wanted to take a little time out to chat about my flatmate for a sec and her imense talent pour la theatre (it’s almost as impressive as my affinity for languages.)

Yep, last night, courtesy of a very nice, young boyfriend, I was lucky enough to be bought the last ticket for the Core Theatre production of The Crucible at the Rondo Theatre in Bath.

Firstly I would like to say what a massive amount of  respect I have for the whole cast and crew for their hard work on this. It seems incredible to think that the people on and behind that stage had done so in addition to their everyday lives and jobs, and the performance I saw was a true testament to their passion and dedication to it. Every single person on that stage did a magnificent job in engaging, not only me, but the whole audience in the darkness of Arthur Miller’s story and, while this is a bit of a favouritism post for my buddy, I feel it’s important to point out that she was by no means the only talent to astound me that night.

But she is a bit of a sneaky one is Lucy Harper. We all knew from her work at university that she has an incredible talent for all things creative, and assumed that it manifested itself best in illustration but, I kid you not, last night, on that stage, she blew my socks off.

 Lucy played Abigail; a big role and a kind of a catalyst for the whole show, and she did so with professionalism and skill that seemed to me to surpass many seasoned actors. I’ll attempt to illustrate this point by telling you that one week ago, Lu fractured her elbow in multiple places and STILL managed to deliver an incredible performance. Incredible to the point that the sling became invisible, not only to me (who’s sort of used to it) but to the chatty old ladies in the foyer afterwards whose praise I took great pride in overhearing.

It seems a little unfair to me, when so many people struggle to find even one talent that they can truly nurture into something special, that Lucy is happily sitting on (at least) two. From now on I am well and truly keeping a sneeky eye on that girl.

 I’m completely over the moon as well, to see that it wasn’t just me who appreciated Lu’s performance to the extent that I did. If you follow this cheeky little link:

http://www.guide2bath.com/news/950/Review-The-Crucible-at-the-Rondo-Theatre-in-Bath

It will take you to a real life, actual review in which my little matey is mentioned YET AGAIN with regard to being just a little bit excellent. And I can’t stress anough quite how deserved that is.

Okay I’m wondering if that’s enough praise to sufficiently embarrass her.

No? Well okay, one more.

Look how pretty she is in the programme!

Yeah, that’s definitely enough now. I worry anymore would go to her head, you know what these actor types are like.

Seriously Lu, big love to you and your funny little wonky arm. I’m so proud that you saw it through at a time when many other people would have, completely understandably, thrown in the towel. You are fearless and talented and this is a truly phenomenal combination.

Loads of love, respect and pride

B

x

Etching Workshop: Episode One

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I’m pleased to announce that once more they’ve allowed me into the print rooms, on the condition that I don’t get too excited (okay, that’s a lie. Although there’s a danger it might be necessary.)

This time my play date is with the foreign exchange student of etching. I’ve never done it before; dabbled in a little bit of very rushed dry-point in the last week of my Foundation FMP, but never gone the whole hog with the acid shebang.

So far I’m getting on with it just fine. As with all forms of printing the first, setting up bits aren’t really the most enjoyable but they’ve not been too labor intensive and, as arty as it sounds, I’m really liking the total disregard for modern technology. It’s oddly pleasing that in the hundreds of years that etching has been a print form, it’s changed so little. Almost feels a bit like a “well if it ain’t broke…” sort of deal, although I’m  sure there’s plenty of pragmatic people who would challenge me otherwise.

I’ve gone with a hard ground (as I’m but a wee beginner) and singed it a few days ago. Today I finished scratching into it, which was the most relieving surprise when I think back to my dry-point on perspex days. Wax is a total gem in comparison, none of that teeth on edge nonsense, just lovely lovely, soft, waxy goodness. Easy peasy.

Our brief is simply to do a simple portrait of an artist we admire. No funny business.

So I’ve abliged with an image of Henri de Tolouse Lautrec. He’s a bit of a favourite of mine, not even because of his work but literally just because I find his life so fascinating. I went with a sharp close up so I could get in all the details of his trademark glasses. Plus he has a bit of a wonderful face to draw. Somehow very French (no onions or berrets though.)

So there it is. The wonky eye was genuinely his face by the way, that’s not jut me doing a bad drawing.

It’s nerve wracking knowing how different it will look printed, when it’s not only put back into positive, but reversed too. I’ve been fighting the urge to photoshop it and see how it’s likely to look, but I’ll be good and won’t spoil the surprise.

Just wish me luck!

B

x

UPDATE: Okay, I caved. I photoshopped it. I now have a pretty good idea of where it’s going. I’m not going to put it up though. Wouldn’t want anymore cheeky monkeys to see it before it’s properly done!

My Work Doing Things!

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Yeah, okay I got lazy over Christmas.

But once again, I bring you stuff and things from the world of Bex! Don’t pretend you’re not excitied.

A little while ago I was asked to do a bit of work for the BSU magazine Milk, and today is “oh yeah, I should check and see if my stuff is online” day and, lo and behold…it is!

Huzzah!

Thanks to the good people of Milk, my work is circling the interwebs, this time in the form of an online magazine. Quite a nice one too.

If you would be so, very kind as to follow this link:

http://www.milkonline.org.uk/big-bang-theory-a-profile

You will see a little illustration I did to accompany a review of the Big Bang Theory, and if you follow THIS link:

http://www.milkonline.org.uk/bex-badgley

Look! Lots of work you’ve probably seen before in a section all about me! Horray!

It’s always nice to see your work showcased, especially by such a nice bunch as the students at Milk, many thanks goes out to those guys for putting it all together and making it all look so shiny.

AND, if THAT wasn’t enough for you, there’s also been THIS bad boy just gone to print:

Which, if you are a good enough person to buy it, houses this cheeky little snippet in the gallery section at the back:

BOOM DADDY!

Yep, Dave West of Accent was good enough to give my work a little thumbs up in the back of his newest release.

It’s a top notch read aswell, I highly recommend to everyone and anyone. As a series of shorts there really is something for everyone in there. (That’s not even just because I get a mention either.)

Long may this work thing continue, and yes, there is more of it coming your way very soon, I promise.

Peace out

B

x

Another Late Night Creation…

Posted on Posted in Fun and Textiles, IllustrationTagged , , , 1 Comment

Ok so like good little students my flatmates and I have entered into the christmas spirit with the time-honoured, empty wallet tradition of the Secret Santa.

Now admittedly the limit is only a measly £5 BUT, I am A PROPER student, by which I mean a massive, massive cheap skate. So, with this in mind I sat down last night (at some god awful hour) and made my poor, unsuspecting flatmate her sorry excuse for a festive gift.

She is, by all intents and purposes, a massive comic book nerd (and way better at it than me) so this was pretty much the starting point for this absurd creature…

Yes. It’s a Zebra who is a super hero. And it’s made of socks. Because let’s face it, what’s worse than getting socks at Christmas?

Getting stuffed socks you can’t wear THAT’S what!

He’s made from 2 trainer socks from H&M and is based on a similar (but less bizarre) sock zebra by Daniel Liao (found in the book Stray Sock Sewing.)  I had to adapt the design as I didn’t have the correct type of socks…and mine is a super hero obviously.

And yes, I actually did make a tiny Zebra Super Hero comic book for him to read…because I’m cool.

Well it’s the thought right?

I’m sorry Holly, you didn’t deserve to live with me…

Merry Christmas everybody!

B

x

God bless us, everyone.

Aminals!

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Fancy another photocopier based one day project?

Of course you do!

Okay, so have a look at these little fellas.

Right, so this one was a fun little project. Using these  images, make some animals!

The cast of our little petting zoo had to be: A Dog, a Cat, a Monkey and a Bird.

Other than that it was up to us what we did (ie breeds etc were a free for all) and we could represent them however we liked.

So, wanna see what I did?

I started off with a pretty literal illustration with this little guy. The photocopier was duly employed for some enlargement fun.

NEXT:


Still quite figurative, although lacking limbs obviously. I cheated a bit with the tale and cut up the symbols past any real recognition (aside from the phone). I’d change that, in retrospect.

AND THEN:

Starting to get a little more abstract now, reducing it down to the bare bones while still trying to suggest the breed I was thinking of.

FINALLY:

Although a bit of a rush job (can you tell?? lol) I found it quite funny. Everytime I go back to my parents’ place, this is how my cats greet me; Butt in the face.

Cheers guys.

I also inverted the colours on the photocopier. For some reason it seems to work better in black and white as opposed to white and black.

So yeah, it was a nice, easy going fun one to get us in the mood for christmas.

If we’re lucky, we might get some projects that aren’t wholly dependant on the photocopier next term…

Actually I’m not holding my breath.

B

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