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Friday 1 March 2024

Hand-Colouring Linocut Prints with Kathryn Anderson

 



Professional printmaker and tutor Kathryn Anderson takes us through the process of adding colour to linocut prints on Somerset paper. Kathryn is an ambassador for St Cuthberts Mill and is known for her highly detailed prints capturing the beauty and mystery of the natural world.

“As a printmaker my work is mostly monochromatic and graphic in nature, but my subject matter is often anything but black and white! Many of my prints were yearning for some colour.

For years I have been printing linocuts on Somerset Satin and Somerset Velvet paper. They print so beautifully! It is the only paper I use for editioning. My prints always come out very clean and crisp with consistently even ink distribution. Somerset paper is very stable and has such a wonderfully smooth surface.


To add colour to my prints I have done reduction printing, multi-blocks, and jigsaw techniques, but longed for some soft tonal hues.

I wondered if I could introduce watercolour to the prints I made on Somerset paper. I tentatively began experimenting with watercolour on my prints and I was thrilled to find that the watercolour worked beautifully on the Somerset papers! The graphic nature of the prints combined with subtle washes of colour was exactly what I had envisioned. My prints began to come to life in a beautiful way.

I keep the washes light in saturation, so as not to overwhelm the details of the print. I can also add lovely gradients and hue shifts into the mix. It felt a bit like the antique hand-coloured photos that I love. I printed some on Somerset Velvet Newsprint Grey and was over-the-moon about the addition of the watercolour! The soft grey coupled with the graphic black print was the perfect substrate for introducing some colour.

A sunny autumn day was the inspiration for these ravens in the maple tree.

(Note: shifts in paper colour shown are the result of Kathryn’s photographing in different lights)

One of my favourite hand-coloured linocuts is this little chickadee and pinecone. From carving, to printing to hand-colouring, it was a joy to create. A simple wash of colour makes a big difference.







These flowers bloom with a splash of colour and they are so much fun to paint!


A few helpful hints about adding watercolour to your prints on Somerset:

• Make sure your printing ink is oil-based so that it doesn’t bleed when watercolour is applied.

• Don’t apply too much water and be gentle with the surface of the paper.

• Avoid opaque paint so you don’t cover up your printed image.

• If you see slight buckling in the paper when it is wet don’t worry, as the paper dries it flattens out.

• You can paint on your paper first, let it dry, and then print your linocut on the painted paper. It’s a wonderful way to play with colour and textures in a less structured way.

• Experiment with other Somerset paper colours like Antique, Buff, Newsprint Grey, Radiant White, Soft White, and White.

• Have fun!




This method of adding colour to my prints has opened up a whole new world of possibilities for me.

In addition to being an outstanding paper for printmaking, Somerset paper is equally superior for drawing, charcoal, and pastel.

Thank you St Cuthberts Mill for making this beautifully versatile paper!” - Kathy Anderson


To see more of Kathryn Anderson’s impressive prints follow these links:

To learn more about Somerset printmaking papers visit our website.
Please note: Somerset paper is not suitable for full watercolour paintings due to being engineered primarily to accept printmaking ink, as its primary function.

Thursday 15 February 2024

Artist Spotlight: Mayad Allos on Saunders Waterford

 



As part of Green & Stone’s 'Works on Paper' event, urban sketcher and watercolourist Mayad Allos shares his love for St Saunders Waterford paper, traditional European architecture, and the continual inspiration he finds in and around Chelsea in London.




Tell us about your practice and your journey to get to where you are now. 

My main role for many years was designing new homes in Surrey, which were predominantly done digitally and 3d modelling was a very important part of our client presentation. The models took significant time to produce and subsequently amend when there were client changes to make. It was difficult to present quick ideas and very frustrating that I couldn’t present a very simple sketch alternative.

I always enjoyed doodling whilst on a phone call or waiting for a meeting and thought it would be really good fun to produce hand-drawn presentations. I started with simple sketches and progressed to full presentations. Clients loved them which really encouraged me to improve, in fact, I even presented some of the sketches framed for clients.

Initially, I only used pen and ink, then realised that a limited splash of colour gave them more life which is how I ended up with my current core style of black, white and green.



What is the importance of drawing to you? 

I am now semi-retired from my design role, but thankfully the addiction to drawing continues. It is an amazing pastime and I can spend hours and hours with a pen or watercolour brush. Whilst sketching and painting offers consistent positive challenges to improve, it is always very therapeutic, I simply lose all sense of time when drawing and painting.


What is your go-to drawing paper to use and why? 

I actually have a couple of favourites which are:

Saunders Waterford Spiral pad 19x28cm CP (NOT) 300gsm - I love this paper because it is spiral-bound which makes it easier to hold and flip through. The texture and colour of this paper is perfect for classical architectural details as it gives the drawing a huge amount of depth.


Saunders Waterford block 31x41cm CP (NOT) High White 300gsm - I mainly use this paper for larger pieces and commissions where I need a brighter background as I tend to leave more white space on these drawings. The texture is more subtle which gives a softer feel to the piece.

Drawing intricate mouldings and details seems to be a significant aspect of your practice. How do you approach capturing these details in your drawings, and what challenges or rewards do you find in this process?

I am fascinated by different shapes, objects and the shadows they project on surrounding surfaces. Classical architectural mouldings and details offer an endless supply of amazing subject material.  I love working out the best way to present them and in which colour scheme. Making them realistic but also artistic with a lot of depth can be a challenge but great fun at the same time. I quite often have a page filled with the same detail that I have drawn over and over again to get just the right colour combination.  


You’ve mentioned a love for traditional European architecture. What is it about this architectural style that captivates you?

For several reasons really.  Firstly, its timeless beauty and elegance really showcase the rich cultural heritage of Europe. The intricate details, ornate decorations and symmetrical designs really are a testament to the craftsmanship and attention to detail of the architects and builders of the time. It also has this amazing sense of grandeur that can transport you to a different era with its towering cathedrals, majestic palaces and charming townhouses – when you see these buildings it feels like you’re stepping back in time.





What specific elements or scenes in Chelsea inspire you the most, and how does the neighbourhood serve as a constant source of material for your drawings?

What inspires me most about Chelsea is its charming and picturesque streets and the proximity to the River Thames which adds an element of tranquillity and natural beauty to the place.  The rows of colourful, Georgian style houses and beautifully manicured gardens always prove to be a treasure trove of ideas for me. There are so many elegant windows, decorative ironworks and intricate facades that provide endless inspiration for my drawings.  I love that the buildings are interlaced with gardens and squares full of all types of foliage, trees and flowers too.  Creativity thrives here and I feel very fortunate to live and work in such an artistic place.





Find out more about artist Mayad Allos:

www.instagram.com/mayadallosart/

mayadallosart.co.uk/

For more information on the Green & Stone 'Works on Paper' exhibition, including the catalogue visit:

https://www.thegalleryatgreenandstone.com/winter-exhibition-2024

To learn more about the Saunders Waterford range visit our website.

Article originated by The Gallery at Green & Stone, as part of their 'Works on Paper' exhibition. Our thanks to them for allowing us to replicate the piece.





Thursday 1 February 2024

Artist Spotlight : Elena Stogneva, from Architect to Watercolourist

 


As part of our series in celebration of the recent Green & Stone exhibition, we caught up with Elena Stogneva, who won the Best Watercolour Medium prize with her painting ‘The British Museum’, to ask her about her work, and the journey she has taken from being a professional architect to a full-time watercolour artist.

You’ve still time to see the exhibition, which finishes 8 February 2024 at the Green & Stone Gallery, 251-253 Fulham Road, London, SW3 6HY.

Trafalgar by Elena Stogneva
 on Saunders Waterford
Lena is a visual storyteller and professional artist who is never without her sketchbook. Her background in architecture has allowed her to hone her perspective and geometry skills, and she loves to flex these skills spending time sketching street views, urban scenes and city skylines. 

“I believe you have to see and feel the subjects before you draw. It’s great to be able to catch the buzz of the city -  its people, the smells, and mix of cultures - and then translate that to my sketches and paintings.” says Elena.

Painting in an impressionist style, Lena has come to specialise in urban landscapes, focusing on the play of light and shadow to convey the city’s varying moods and emotions. She also enjoys playing with angles of view and, in particular, looking down from vertiginous viewpoints. Lena has experimented with many different drawing materials over the years, but discovered watercolour three years ago and hasn’t looked back. Watercolour has become her favourite medium and for most of her paintings she uses Saunders Waterford 300gsm CP (NOT) paper made by St Cuthberts Mill. 

“Saunders Waterford is my must-have paper,” says Elena.


'The British Museum' - Best Water Based Medium
at Green & Stone Works on Paper 2024 


When asked about her winning painting, she explains:

“The British Museum is one of my favourite places in London with the space of the Great Court feeling airy and light. In my painting, I portrayed the visitors’ figures casting dynamic reflections on the polished floor, and added the bright spots in mainly monochromatic space.”

By Elena Stogneva on Saunders Waterford







“I’m planning to do more plein air paintings, so I’m looking forward to warmer days. I’ve also an idea to paint more of the distinctive steel structures found inside many London buildings, like the interiors of train stations and markets. I like to capture industrial elements and think they’re an important part of urban aesthetics.” 

Lena is excited to continue working from her studio in Hertfordshire, travelling the short distance into the city for her regular urban fix, and sharing her work with an ever-growing audience.

“I like to regard my pictures as my messengers and I’m happy if others feel that emotion when they look at them too.”




Elena receiving her award from St Cuthberts Mill chairman Alan Walker
and Green & Stone Managing Director Hester Baldwin,
at the January 2024 Works on Paper exhibition.



To see more on Elena visit:

www.objectsaround.me 
www.instagram.com/lena_stogneva/

For more information on the Green & Stone exhibition, including the catalogue visit:

https://www.thegalleryatgreenandstone.com/winter-exhibition-2024











Monday 29 January 2024

Green and Stone Works on Paper 2024 Winners

 


St Cuthberts Mill are thrilled to be associated with Green & Stone’s recent Works on Paper Exhibition. To celebrate all things paper, St Cuthberts Mill sponsored this extraordinary exhibition.

The exhibition features 144 works of art from 127 emerging artists from around the world and runs from 15 January until 8 February 2024 at the Green & Stone Gallery, 251-253 Fulham Road, London, SW3 6HY.

The private view was an electric event, with the gallery packed with people enjoying the art adorning the walls.  Alan Walker, chairman of St Cuthberts Mill, personally met and handed six well-deserving winners their prizes with Hester Baldwin from Green & Stone.

Best in Show: Sophie Coe, with Mountain Waking

Highly Commended: Lindy Norton, with The Crossing

Young Artist: Amy Austin, with The Visitor

Original Print: Yin Wang, with The Company

Water Based Medium: Elena Stogneva, with The British Museum

Dry Based Medium: Curtis Holder, with Hirsute III

Alan Walker (Chairman of St Cuthberts Mill), Sophie Coe (Winner),
Hester Baldwin (MD of Green and Stone)

We caught up with each prize winner, for more insight into their winning composition and their work.


BEST IN SHOW

'Mountain Waking' by Sophie Coe

The winning image is very powerful, can you tell more about the inspiration behind this and your series of mountain images?

“I’ve always loved mountains, whether walking or skiing through them, to me mountains feed the soul. I spent 15 days walking in the Himalayas, up to the base of Everest, back through the Gokyo Valley with its string of turquoise lakes and glaciers. The beauty and the enormity of it all gave me the energy to keep going. I climbed Kinabalu and Kilimanjaro, where you start in tropical rainforests and walk through the temperate zones up to snow and ice. 

Sophie Coe
I ski whenever I get the chance, less than I want to! In lockdown I started drawing and painting mountains, having decided If I couldn’t get to the places I wanted to visit I needed to bring them to me. The studio was full of mountains and seascapes and that’s where my head was too. The small pieces felt like postcards home from imagined adventures, the bigger pieces allowed me to feel present in the landscape. ‘Mountain dreaming’ is loosely based on the Alps, it’s imaginary too though. All the man-made elements are omitted - the chair lifts, and the pylons. But I included ski tracks which allows the viewer to be more able to imagine themselves in the landscape. The clouds give a dream-like quality to it.” 

www.sophiecoe.com
www.instagram.com/sophiecoeartist/



HIGHLY COMMENDED

'The Crossing' by Lindy Norton


The print has a sense of unease as the man is on the crossing, is this an intentional part of the composition?

“The unease you suggest in this print is intentional. I like my images to have a narrative, often unsaid and not entirely obvious. I hoped to get some sort of tension in this image, one man turning to look at the other who is engrossed in his phone. It could merely be one moment between two strangers or maybe friends…one is clearly pre-occupied!” - Lindy Norton.



YOUNG ARTIST

'The Visitor' by Amy Austin



Can you tell us a little more about the intriguing narrative behind The Visitor?

Amy Austin
“I like that the narrative behind this piece is ambiguous. Which person in the work is ‘the visitor’ My gut tends to see the girl on the right being the visitor, as if she has accidentally found herself in this alternate space where another, unknown being, resides. Does this being know she is there looking in on their world? How has she got there? These are questions I don’t have answers to, or at least the answers may change depending on the day.

What I think this work communicates though, is the sense of stepping in on something otherworldly, something that is at odds with your entire worldview. I see it as a moment of distinct change, there was before this moment and there will be after this moment, but ultimately things are now different for both of the beings in this work. Lastly, the bird swooping down brings a glimpse of a world the viewer understands, and helps add a recognisable element to the work which otherwise is completely imagined.”





ORIGINAL PRINT

'The Company' by Yin Wang


Yin Wang
"This work is a reflection of my inner world, which has remained largely concealed during my years away from my family and motherland. The subject depicted in the picture was inspired by a small wax maquette that I created to capture the ephemeral movement of a life model. This particular movement resonated with me due to its sense of loneliness and vulnerability. The shadow-like companions in the picture were inspired by Li Po’s poem 'Drinking Alone With the Moon' from the Tang Dynasty.

In the poem, Li relieves his loneliness by drinking with the moon and his own shadow, creating a trio. In my picture, however, the shadows remain more ambiguous, mysterious, and metaphorical, also forming a trio. These two companions are open to interpretation and may represent something different for each viewer. While the overall tone of the piece may seem depressing, it actually centres around 'the company'—whatever form it may take." - Yin Wang.



WATER BASED MEDIUM
'The British Museum' by Elena Stogneva


Elena Stogneva
“The British Museum is one of my favourite places in London with the space of the Great Court feeling airy and light. In my painting, I portrayed the visitors’ figures casting dynamic reflections on the polished floor, and added the bright spots in mainly monochromatic space.” 

www.objectsaround.me
www.instagram.com/lena_stogneva/




DRY BASED MEDIUM 

'HIRSUTE III' by Curtis Holder


Alan Walker, Curtis Holder, Hester Baldwin
"I prefer to start every drawing with a conversation while I’m sketching the subject. It’s an opportunity to glimpse into their mind and make a personal connection. My goal is always to translate their emotions and the mood of our encounter onto paper, along with my own feelings and observations. I need to understand them a little, even if it’s fleeting."

www.curtisholder.co.uk
www.instagram.com/curtisartist



Our thanks to the team at Green & Stone for putting on an excellent exhibition, with special mention to Venetia Higgins, Mary Petherick, and Hester Baldwin.


To view the prize-giving ceremony click here.  

Over the next few months, we will be catching up with the prize winners, to hear more about their work. Look out for the first article featuring Elena Stogneva, winner of the best Water Based Medium category in February.

 


Friday 19 January 2024

Multi-purpose Bockingford with Paul Talbot-Greaves

 



Paul Talbot-Greaves is an acclaimed artist who has specialised in painting watercolours for many years and his inspiration is drawn from the strong tones and contrast found within the landscape. You may know of him as the presenter of four teaching films on watercolour painting, and his appearance on Channel 4’s ‘Watercolour Challenge’ and Sky TV.

He is a Companion of the International Guild of Artists, an Associate of the British Watercolour Society, and President of the Halifax Art Society. He is also a Professional Associate of the Society for All Artists (SAA) and an advisory panellist. He runs highly successful watercolour painting courses, workshops and demonstrations, and frequently writes for Artists and Illustrators magazine and Paint, the magazine of the SAA.

Here, he shares with us why he chooses Bockingford for his acrylic paintings and how it is a great multi-purpose paper - with exclusive step-by-step details of his process below:

'Autumn Fields' on Bockingford, by Paul Talbot-Greaves

"Being a water-based discipline, acrylic takes to paper naturally and I find I can use numerous techniques to bring over many different effects, from watercolour style approaches to heavier applications. My paper requirements are first off, a quality paper with an archival grade base and a heavy weight to support the paint application. Bockingford paper made by St Cuthberts Mill fits these requirements perfectly. Being a cellulose paper, paint tends to dry to the surface of Bockingford, which is exactly what I need for acrylic painting. I don’t want the paint to soak directly into the body of the paper too quickly, so it’s great to have this option aside from their Saunders Waterford cotton papers, which I use for my watercolour works. I like to exploit the 425gsm (200lb) CP (NOT) surface Bockingford as this accepts both the acrylic paint well and yields a perfect texture for dry brush techniques."

'In the Afternoon' on Bockingford, by Paul Talbot-Greaves

"I start with an initial application of colour, which has a dual purpose. Firstly, it sets the light. There is no other way to achieve reflective light than to apply a thin colour to a white surface, and Bockingford is superior at this, as light is reflected from the white of the paper back through the colour, giving it a glow. The second purpose is to prime the paper with acrylic, giving it a slightly waterproof coating. This helps when building further layers on top as the paper takes on a minimal absorbency and this is how I enjoy the acrylic application – not too wet and with fast drying. Fast drying of acrylic is often seen as a negative attribute but I like to embrace it as a positive. Layers can be built quickly and when paint is used in conjunction with matt medium, there is a huge amount of subtlety that can be generated."

'Warm Light of Winter' on Bockingford by Paul Talbot-Greaves

"After the initial layer, I usually create the drawing using a small round brush dipped in acrylic paint. This ensures the structure of the painting remains throughout the entire process. I then begin the painting with big brushes, and I block in the value structures working from dark to light. I add a tiny amount of water to the paint to reach the consistency of soft butter. Overall, the paint dries to an even flatness on Bockingford paper and by using the paint thickly, I can easily achieve dry brush textures from the surface of the paper. This whole method and paper choice works well for any subject matter, especially landscape where I can enjoy a loose approach to painting. When complete, my paintings are mounted behind glass, which deepens the look of the colours. Alternatively, the paper is tough enough to bond to a board and completed with a couple of coats of varnish."

Step-by-step details



Stage 1
I covered a piece of Bockingford 425gsm (200lb) NOT surface paper (22in x 15in) with alizarin crimson, yellow ochre and a generous amount of matt medium.



Stage 2
Using the same colours, I marked in the drawing using a small round brush. At this stage, the paint dried quickly on the paper allowing me to progress without delay.


Stage 3
Using a mix of French ultramarine, alizarin crimson and cadmium yellow pale I blocked in the darkest darks with a 1-inch flat brush.


Stage 4
Continuing with different brush sizes, I worked the dark, mid and light values until the painting was roughed in all over.


Stage 5
When all the colours were established, I built up further layers, adding matt medium to the colours. By this stage the paper is pretty much sealed, and the paint tends to dry a little slower.

'A Nidderdale Ramble', acrylic on Bockingford, 425gsm (200lb) CP (NOT) surface paper

Stage 6
Finally, I added the figures, some small details in the walls and the textured splatter. The paper remained flat throughout the entire process, so framing the finished piece is neat and easy.



For more information about Paul Talbot-Greaves' artwork, books, and courses please visit:

Website www.talbot-greaves.com/
Facebook www.facebook.com/PaulTalbotGreaves/
Instagram www.instagram.com/talbotgreaves_artist/
Twitter twitter.com/TalbotGreaves

To find out more about Bockingford visit our website.



Monday 8 January 2024

Testimonial: Edo Hannema on Bockingford

 


Ambassador Edo Hannema’s passion is for painting landscapes, with calm water and expansive Dutch skies playing a dominant role in his paintings. Edo loves painting on Bockingford, Saunders Waterford, and Millford paper. Here Edo shares some of his techniques when painting on Bockingford.

“Bockingford is a cellulose paper available in various weights and in different colours. It is available in Cold Pressed, Hot Pressed and Rough.

I love this paper a lot because it is a special paper! For painting, I use the 425gsm (200lb), but for sketches, the 300 gsm (140lb) is wonderful too.

'Last Snow of April' on Bockingford CP (NOT) 425gsm (200lb)

I love painting on Bockingford paper because it is so easy to make back runs. When you apply a wash, feed a bit of extra water in some parts and let it dry. You get texture you would never be able to make with a brush. On cotton paper it is very difficult to create these effects - of course, it can be done - but Bockingford is wonderful to use these techniques for. Also, when you have a small part applied with a brush, and you feed it some extra clean water you get a nice edge of pigment on that spot.

Bockingford is also perfect for a wet-into-wet technique. When you apply the first wash, you must wait to make a second layer when the paper is bone dry. The best way is to paint thicker or darker mixes over thin layers.

'A Walk Over The Old Ways' Bockingford CP 425 gsm (200lb)

I always explain to other artists that Bockingford needs a different approach than 100% cotton paper. The difference between the papers is how they take up the water and pigment. Bockingford has a harder surface and the pigment will not be taken up by the paper as much as Saunders Waterford would. But I love all of them.

Edward Wesson and James Fletcher Watson painted a lot on Bockingford 425gsm (200lb). So, when I use Bockingford, I know I am in the company of these fabulous artists.”

'Summers Day in North Holland' on Bockingford CP (NOT) 535 gsm (250lb)

To see more of Edo Hannema's inspiring paintings follow these links:

Blog: edohannemawatercolourartist.wordpress.com/
Instagram: www.instagram.com/edohannema.watercolourart/
Facebook: www.facebook.com/YeddoHannema
YouTube: www.youtube.com/channel/UCuulNUJt3BrrMKbbj2zijOA?view_as=subscriber
Linktree:linktr.ee/edohannema.watercolourart

To learn more about the range of Bockingford paper visit our website.