New mezzotint prints

June 2, 2011

I have finished working on a few plates, most of which are going to be exhibited at the Blackheath gallery in London starting from 11th of June as part of their Summer Show.

Decided to experiment with adding colour to mezzotint. Got varied feedback. I am posting images with colour and without colour, and would love to hear your opinion on them!

Mezzotint nude

“Sun” – 1

 

Mezzotint

“Sun” – 1

Mezzotint nude“Sun” – 2

Mezzotint nude

“Sun” – 3

 

 

 

 

 

Mezzotint nude

“Sun” – 1

Mezzotint nude

“Sun” – 2

Mezzotint nude

“Sun” – 3

 

 

 

 

 

Mezzotint. The Apple

“The Apple”

Mezzotint. The Apple

“The Apple”

Mezzotint. The Apple

“The Apple”

 

 

 

 

Mezzotint. The Apple

“The Apple”

Mezzotint. The Apple

“The Apple”

Mezzotint. The Apple

“The Apple”

 

 

 

 

The above images are rather large. Well, for a mezzotint AND for my mezzotints. Nudes are all 15x24cm, and the apple prints are 23×36.5 the left and right images and 23x23cm the central one.

I am gradually increasing the sizes of my plates. Gradually, because mezzotint IS such medium – incremental. Currently, I am working on two portraits which are the biggest ever – 75x46cm.

In comparison with hours, days, weeks and months it took me to finish the above prints, working on a couple of small plates hardly left an imprint on my memory. Still, I like them for their¬†simplicity. Simpleton-icity even ūüôā

Garlic. Mezzotint

“Garlic”

Mezzotint. Olives

“Tinker, taylor…”

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I seem to be managing with less proofs now than I used to.

Some prints took around 20 or more¬†stage proofs before the final image. Especially the larger portrait mezzotints, like “Girl by the Window”, “Mother and Child” and “Alina’s Faces”. The smaller and less detailed mezzotints were finished with 4-7 proofs.

I put together a couple of video clips made of a succession of stage proofs. Here is the “Alina’s Faces” – 1:

Experience helps. Now I can judge better the depth of the burnishing by the look of the plate. Important to get the right light on the plate. It has to be diffused yet strong enough.

There were many frustrating moments while I was trying out a variety of rocking methods.

I gave up rocking the plates myself very early on. The process of working on the image itself is time consuming hard and slow enough without wanting to devote another double that time and effort to preparing the plate.

Before I found my present supplier of pre-rocked plates, I tried machine-rocked plates made in Japan. These were no good – very shallow rocking.

Although it was much easier to work on the plate and achieve fine detail without too much effort, the burr was too shallow to hold enough ink. Even light wiping of the plate would lift the ink up and leave bold grey patches on the bakground.

Mezzotint print. "Claire". Marina Kim Mezzotints.

"Claire"

The “Claire” was made on such a plate.¬†The inferriority of the plate made¬†the wiping process¬†extremely fiddly.¬†I manage to print around 60 impressions including author’s proofs and a few rejects simply because I like the image too much to give up sooner.

Mezzotint print by Marina kim "Alina's Rose"

Mezzotint “Alina’s Rose”

Alina is my younger daughter. At the time I made this mezzotint she was almost three.

I was looking for an image for a mezzotint on a¬†very long and narrow plate – 40×12.5 cm. My intention was to have a flower on it, but I wanted it to be held, so that the hands would be in the picture and the flower and hands would in a way be competing for the attention of the viewer.

So, I asked Alina to model for me with a rose. And put on a white dress with intricate piping detail. She wasn’t too happy about it. Being heavily under the influence of her almost 5 year-old sister, she was very aware that dresses weren’t cool. But I loved the resulting image with the garden rose near the end of its life and about to loose its petals, and the soft baby-hands holding it. The fabric of the dress creating the background for the image was an interesting detail to work on, and quite a challenge too.

Mezzotint meditation

April 8, 2011

If someone told me even couple of years ago, that art for them is meditation, I wouldn’t get that. For me art is a struggle. It requires pushing oneself.

Yet now I discovered, that mezzotint is a meditation for me.

Yesterday I over-stimulated myself socially (in fact a couple of days in a row I was deliberately doing just that) and had trouble going to sleep. So, now I am calming myself down by working on the new mezzotint plates.

It makes you slow down and pay attention…

Mezzotint plate I am working on currently. Female Nude. Mezzotint artist Marina Kim. Printmaking mezzotint.

Mezzotint

About mezzotint…

March 25, 2009

I was sent a question through my ebay store Printocrats about the nature of mezzotint. I thought I’d post the whole dialogue here, because it explains a little, how a mezzotint is an original print and not a reproduction method:

Q: – hi
is this created from a picture ? Read the rest of this entry »

New mezzotints

March 19, 2009

"Roses"

"Roses"

I’ve spent the last two weeks at the printmaking studio.¬†Made a few attempts at monoprinting… Too raw. I am not confident enough with this technique yet. But¬†it’ll change,¬†given time. At Brenda’s studio…

However, the time wasn’t wasted at all.¬†I am rather pleased with my¬†6 new mezzotints.

I asked Martin Maywood to send me random little pieces of the pre-rocked plates. He found 4. It is often very helpful to work within limits of what you have. In this case, the sizes of the plates dictated the choice of the themes and compositions. And it worked well.

The first image is a rose. Or rather two… Read the rest of this entry »