Fish Story 5: Fish and Paper – Success at last

I decided I needed a break, and simply printed on different papers: Cream and Green and successful at last!


Fish Story 4: Mixed Media – adding another technique

My next phase of experimentation had to do with “monoprint” technique. Basically, I added water based inks to a plastic film, which I ran through the press prior to adding ink from my etched plate. I tried a few colour combinations on both cream and white papers, for some added interest.

Fish Story 3: Fish and Paper can be a successful combination

Despite my dissatisfaction with my previous chine collé, I thought I’d take a different approach – two in fact. My first idea was to create silhouettes of the fish, which I did with a purple tissue. It turned out quite well, but there were several failed attempts – chine collé isn’t easy to register, and there were plenty of silhouettes that didn’t “stay within the lines”. I finished off the series with some “silver” paper, that wouldn’t require fine registration. The result is quite subtle (and silver doesn’t do digital well), but I think the swooshes add some finesse to my fish.

Fish Story 2: Fish and Paper can be a risky combination

I mentioned in a previous post that I thought about creating three separate plates, but decided against in favour of one larger plate. My first paper application (chine collé) took advantage of the original idea by visually creating three separate areas of fish. Technically it’s sound, but to my taste, the bold graphics don’t mesh with the fluid nature of the work. So I tried to print on a blue paper. Epic fail. Not all papers are meant for etching prints lol!


Fish Story 1: One Fish, Two Fish, Three Fish, Nine Posts

Two years ago I promised that my fish etching would undergo transformations. I got a lot out of that exercise and today is the first of nine transformational posts.

My original was a simple line etch of fish – I had originally planned to split the work into 3 separate plates, but decided it would be much more fun to work with the larger plate. My first transformation was to add an aquatint background, by masking out the fish and progressively adding more splotches with each aquatint etch. The result? My fish almost popped (swam?)off the page!







As long as I’ve been painting, I’ve struggled to “loosen-up” and embrace the natural accidents that comes with watercolour. I’m pleased with my most recent painting: there are some “blurred lines”, some bleeding, some gestures and a great deal of simplification. Venice truly is magical.




Hello again! I’m not thrilled that I haven’t posted in 2 years, but I am thrilled to be posting today.

My latest etching creation was inspired by a jacket somebody wore on the bus. Yes, I was inspired by transit!

I realized as I started to create the line etching, that my “doodles” were actually quite meditative – almost mandala like – but the addition of Chine Colle, created a bolder statement. And, as I’ve mentioned before, etching allows me to evolve individual works.

I was quite pleased with my first line only print – yes, a few feather areas were messy, but so is nature. I then added some chine colle, starting with soft tones:Feathers Beige Eg web

Feathers Lavendar Eg web

The beige and lavender just couldn’t stand up to the strong line work, so I tried a blue with texture and knew I was almost there:

Feathers Blue Eg web

I realized the chine colle needed to be more “feathery” and also added a negative “rachis”, or spine of the feather.

Feathers Blue web

Feathers Blue 2017, Etching with Chine Colle, 8×6

Feathers Red web

Feathers Red 2017, Etching with Chine Colle, 8×6

I’m quite please with the results, but can’t decide which I prefer: blue or red chine colle. How about you? What’s your preference? And how do you feel about the wavy “rachis” in the red chine colle? Would love to hear your thoughts!