Creatively cropped

 

Amaryllis - or should it be Hippeastrum?
from a watercolour sketch by Teresa Newham

When I planted up the bulb given to me for Christmas, it soon took over the windowsill in our small front bedroom; a splendid Amaryllis (or Hippeastrum, according to the RHS).  It was a great subject to paint, but far too large to move. I would have to do some location sketching in my own house . . .

the inspiration and the whole sketch
© Teresa Newham

I really enjoyed getting my watercolours out again after so long and sloshed away with abandon.  I could easily have put the sketch in a drawer and forgotten about it, but I realised that I could crop it into a piece which I might be able to frame. I could certainly make it into a greetings card.

My Mother's Roses
watercolour sketch by Teresa Newham

I first learnt this lesson with My Mother's Roses, a watercolour sketch which lives my studio (read the story behind the painting here). It's one of my favourites - I smile every time I look at it. I framed Purple Crocus (below) in a hurry to fill a gap after I sold a piece during an Open Studios.  It went to a new home itself shortly afterwards.

Purple Crocus
watercolour sketch by Teresa Newham

This jolly yellow frame was another Christmas present and needed something lively to fill it.  So I leafed through my old watercolours again, and now these cheerful daffodils brighten up my dining room. You can't go wrong with a bit of creative cropping . . .

Daffodils
watercolour sketch by Teresa Newham

Learning to love Japanese woodblock

 

my second Japanese woodblock print
© Teresa Newham

I recently had another Japanese woodblock print session, after tidying up the original blocks from the first one.  They'd scrubbed up well, but it was obvious when I looked at the registration prints from my original attempt that I needed to clear away some more.

evaluating the blocks after the first print session
© Teresa Newham

That done, it was time to prepare the damp pack. Luckily I had plenty of notes to check in case I'd forgotten something vital  -  whichI did several times throughout the whole process, because the Japanese woodblock technique isn't second nature to me yet . . .

preparing a damp pack
© Teresa Newham

I used gouache as the print medium. Even while I was making trash prints and taking impressions on newsprint to check the colours and the registration, I could see that the colours were truer than I'd achieved with watercolour.

the colours were definitely truer with gouache
© Teresa Newham

Despite my best efforts, I still managed to over-ink the blocks - although I did use less ink than previously.  I'm too keen to get results straight away, and will have to get used to the idea that bright colours are best achieved by printing one layer a couple of times.

printing the various layers
© Teresa Newham

Finally I had six prints on three different washi papers. To dry, they go between sheets of clean newsprint for an hour under a light weight, and then under a pile of books for a few days, layered between sheets of blotting paper, which is changed daily.

placing the prints between layers of clean newsprint
© Teresa Newham

It's true - everything about this process is a faff, but I shall do more. At the moment, however, I have lots of ideas for linocuts, too, so I will set Japanese Woodblock aside for a while. Just as well I made those notes!

the finished prints on three different types of washi paper
© Teresa Newham

New Year, new technique

 

my first ever Japanese woodblock print
- scope for plenty of improvement!
© Teresa Newham

As usual, Christmas took up most of my attention during December; so it was good to set aside a couple of afternoons in early January to finish cutting the blocks for my first ever Japanese woodblock print, listening to various podcasts and jotting down a few notes as I went along. 

a cosy afternoon cutting the rest of the blocks
© Teresa Newham

The thought of actually printing the blocks, however, was completely out of my comfort zone. I re-visited Laura Boswell's book and YouTube videos on the process, and carefully laid out everything I thought I'd need in what I told myself was a suitably Zen state of mind, but really it was displacement activity.

gathering everything I needed to print
© Teresa Newham

I made up a damp pack the evening beforehand;  the proofing and editioning papers are wetted with a water brush and left in damp newspaper or blotting paper overnight to absorb the right amount of moisture. Usually proofing and editioning are done in separate print sessions, but as this was an experiment I was keen to go through the whole process in one go.

first steps: mixing nori, watercolours and making trash prints
© Teresa Newham

On the big day I mixed up some watercolours in pots, and diluted some ready-made nori (rice flour paste), which is combined with the watercolour on the block to turn the paint into a print medium. I used Quinacridone Red and Cobalt Green (Yellow shade), and made a second, darker quantity of the red by adding a tiny amount of Sumi ink.

colourful blocks and a trash print to check registration
© Teresa Newham

I wetted each block  and brushed in some nori to condition it, before inking it and taking trash prints on dry scrap paper. I checked the registration by taking an impression on dry newsprint.  At this point I could have cut away some of the chatter from the blocks and adjusted the colours, but I wanted to move on to the editioning stage so I could compare results on the various washi papers.

printing proof prints and edition prints
- the damp pack is inside the John Lewis bag
© Teresa Newham

The prints dried between sheets of blotting paper under a weight for a few days before I assessed them. I'd forgotten Laura's advice that in Japanese Woodblock, less is more; I'd used too much nori and ink, which has affected the colours and - along with the chatter - made the prints messy.  But that's the thing with multi block printing - I can clear out that chatter and have another go!

final prints on three different washi papers from the Awagami factory
© Teresa Newham

Calendar memories

 

January & February
© Teresa Newham

Every November I put together a calendar of my best photos as a Christmas present.  I hang one in my studio, too, to remind me what I was doing this time last year.  Due to the COVID-19 pandemic, the 2021 version turned out to be very, very local . . .

March & April
© Teresa Newham

Apart from the January pic of the countryside near Ware (actually taken at the very end of December 2019 but I can't imagine that the scenery changed much in 48 hours), this year's crop of photos were taken within half a mile of our house; in the garden, the nearby lanes, and on our housing estate.

May & June
© Teresa Newham

A few, such as February's cherry blossom and August's close-up of Agapanthus flowers, are my experiments with the Canon EOS DSLR I bought myself last January; the rest are purely opportunistic  iPhone shots, of which July's apple tree is my favourite.

July & August
© Teresa Newham

I'm hoping to make a linocut based on September's picture (one of several projects I have in mind once I've taught myself the basics of Japanese Woodblock) and I'm already gathering images for the 2022 calendar;  I could do one of views of my favourite field alone . . .

September & October
© Teresa Newham

The November image is one of a series of photographs which inspired my watercolour Harpenden Common in Autumn, taken back in November 2019 while walking to the station on my way to a meeting in London about the January 2020  Journeys in Hope exhibition.  How long ago all that seems now!

November & December
© Teresa Newham

Forgotten treasures

 

my Instagram "Advent Calendar", beginning with the cheery robin 
bottom right and finishing with the Nativity top left
© Teresa Newham

From the beginning of December until Christmas Eve I posted an image on Instagram every day as an online advent calendar. I usually get one for myself, but couldn't find any I liked, so I thought: Why not dig out some of my older Christmas/Winter-themed artworks instead, and share them online? 

Harpenden Common in the snow
photo © Teresa Newham

Putting the calendar together was a lot of fun, and I found plenty of work which doesn't often see the light of day nowadays: I'd love to make a watercolour of a snowy Harpenden Common, and it may be that this ten-year-old photo would make a suitable starting point. I'd almost forgotten it . . .

Christmas Carol cards
© Teresa Newham

When posting the calendar I also suggested a Christmas carol of the day; which was easy for this trio of watercolour Christmas cards which originally had the words of Silent Night, O Tannenbaum and O Come all ye Faithful printed inside them.  I've always thought of the little red-haired girl as me, even though I don't have red hair. Or a dog.

linocut Christmas cards
hand printed by Teresa Newham

I was somewhat surprised to find that I'd made ten linocut Christmas cards over the years; sadly I don't have a decent image of the first one to include here.  Foolishly I limited the edition for that one so it's a bit of a collector's item - I sold the last one a year ago and didn't keep one for myself.  You live and learn.

miscellaneous watercolour Christmas cards
by Teresa Newham

It was good to revisit some of the watercolour Christmas cards I made before I started producing them in  linocut.  I still have some of the originals, although the dove and the poinsettia have both found new homes.  And I'd forgotten all about this experimental snowscape from 2010, which was one of three I made back then. I really should get round to making some more wintry art!

snowscape - one of three similar
watercolours by Teresa Newham

Nativity

 

Nativity
hand printed linocut by Teresa Newham

For this year's Christmas card I decided to make a linocut of the Nativity.  It incorporates the whole of the Bible account of Jesus' birth - Holy Family, star, shepherds, kings - although in the Bible they are not all present at the same time.  When we set up our own Nativity at home we always position the kings to one side until after Christmas, as technically they didn't reach Bethlehem until Epiphany (6th January).

For this, the tenth linocut Christmas card I've produced, I returned to traditional lino, using the Swiss Pfeil linocut tools I got for Christmas last year. This year I'm in the process of sharing all of the cards on Instagram, along with other Christmas-themed artworks, on a sort of daily Advent Calendar, where I also suggest a Christmas carol of the day.

The carol I'm suggesting for the Nativity image is "The First Nowell", because it mentions shepherds, kings and the star:

The first Noel the angel did say 

was to certain poor shepherds in fields as they lay; 

in fields where they lay keeping their sheep, 

on a cold winter's night that was so deep. 

Refrain: Noel, Noel, Noel, Noel, born is the King of Israel. 

They looked up and saw a star 

shining in the east, beyond them far; 

and to the earth it gave great light, 

and so it continued both day and night. [Refrain]

And by the light of that same star 

three Wise Men came from country far; 

to seek for a king was their intent, 

and to follow the star wherever it went. [Refrain]

This star drew nigh to the northwest, 

o'er Bethlehem it took its rest; 

and there it did both stop and stay, 

right over the place where Jesus lay. [Refrain]

Then entered in those Wise Men three, 

full reverently upon the knee, 

and offered there, in his presence, 

their gold and myrrh and frankincense. [Refrain]

As Christmas approaches - one of the strangest and most unsettling Christmases we have surely ever experienced - I pray that the Christmas message of peace, hope and love may strengthen and bless us all: wherever we are, whatever our faith, no matter how difficult our circumstances.

getting to grips with Japanese Woodblock

 

making a start with the cutting
© Teresa Newham

November has been a busy and often chaotic time in the studio. I've been printing my Christmas cards - you can see some drying in the photo above - and I've been taking part in the Herts Visual Arts Christmas Showcase*, so I didn't expect to make much progress with my Japanese Woodblock project this month.

Transferring the design to the ply
© Teresa Newham

Luckily I've been able to break it down into small tasks: the first one was  to make the master tracing, which has to be completely accurate.  The next stage was to transfer the design to the three plywood blocks with carbon paper.  

the three blocks ready for cutting
© Teresa Newham

I've now started cutting the outline on the background block.  It's a very different technique to linocut; you hold the Hangito knife in your fist and pull it towards you, using just the tip.  I started with the background because I can either print it very faint or not use it at all, so my mistakes won't show.

the technique takes some getting used to . . .
© Teresa Newham

The plywood was easier to work with than I'd thought, and the Hangito fit my hand well.  My main problem was remembering which side of the line I was going to be clearing out, as the angle at which you hold the blade depends on this . . .

the hangito is used to outline each block
© Teresa Newham

Once I've cut the outline I shall clear a channel around the block using some of the other tools - which I haven't used at all yet - and then move on to the other two blocks.  With Christmas fast approaching, my time in the studio could be limited, so I've written myself some notes to remember when cutting!

writing myself instructions to come back to
© Teresa Newham

* The Herts Visual Arts Christmas Showcase runs until the end of December, with around fifty local artists taking part.  There's an online exhibition, live virtual demonstrations, and lots of seasonal inspiration as well as the opportunity to buy gifts. Follow us on social media for all the latest info.

Lingering Light

lichen on a log
© Teresa Newham

 

As another lockdown loomed, a friend and I spent a sunny afternoon exploring a nearby golf course. Plenty of people were out and about, while the golfers themselves were making the most of their last chance to play for a month.  

fairy ring off the fairway
© Teresa Newham

We turned right along a bridle path to avoid them, and found toadstools curving around the base of some trees in a fairy ring. We carried on to Harpenden Common and returned through the Prickle Dells, where the fading sun lit up the oaks growing on the crazily undulating surface.

the Prickle Dells on the Common
© Teresa Newham

A few days later the fine weather tempted my husband and I down to the golf course again. This time no golfers were allowed, but there were throngs of people: families walking or cycling, dog walkers, everyone taking their daily exercise in household bubbles or with their one permitted friend.

low sun through trees
© Teresa Newham

We turned left this time, enjoying the last of the sunshine as we wandered around an area which we'd never visited before, and found some more toadstools; the red one with white spots is fly agaric, which always reminds me of the day when I had to sit on a pretend one while I was sworn in as a Brownie . . .

fly agaric - a "proper" toadstool
© Teresa Newham

Further on we found ourselves in the lanes, and took the long way home as the light faded and the temperature started to drop.  The last of the sun was still shining on the trees; every now and then a group of walkers emerged from a footpath, dogs or children in tow.  It was a beautiful afternoon.

late sun on trees, Ayres End 
© Teresa Newham

We have some lovely scenery in this part of Hertfordshire, and, weather permitting, we hope to go further afield as Winter approaches. There's always somewhere new to discover; plenty of paths not yet taken.  Who knows where we might end up?

Hertfordshire sunset
© Teresa Newham

Mood Indigo

 

linocut Christmas cards in indigo on white
© Teresa Newham

It's a reflective time of year, as the clocks go back and the nights draw in.  Less daylight means shorter studio sessions; and as I'm trying something new I've taken plenty of time when considering how to go about things. I made several attempts to turn a sketch of an acer leaf into a design for a Japanese woodblock print, and was delighted when I finally hit upon something I was happy with.

evolution of a design
© Teresa Newham

 At the same time, I've been selling Christmas cards in aid of the church building fund: unable to do this after Mass, as I normally would, I sent out an email and was delighted by the response.  Someone asked if I'd print the design in indigo on white card, and it was interesting to see the result; I think they look rather smart.  

mixing the right colour
© Teresa Newham

My next Japanese Woodblock challenge was to work out how to transfer the image for cutting - at which point I realised that while my lovely design fitted onto the block, there wouldn't be enough room to cut the kento registration marks without running the risk of splitting the wood.  And there would be no margin down one side. That led to quite a bit more careful contemplation . . .

looking at various options
© Teresa Newham

One end of the studio was full of drying cards; at the other end of the table my sketchbook lay open reproachfully as I tried to work out a solution to the problem.  I considered buying bigger blocks, or printing the leaf anyway, regardless of the margins.  Then I realised that with a bit of careful positioning I could use some stick-on kentos for this first attempt, as they take up less space.

the drying end of the studio
© Teresa Newham

My notebook is now full of reminders and suggestions for various blocks and colourways, but at least I have what I hope is a workable plan.  So it's been a busy time in the studio; I think I've managed to avoid falling at the first hurdle as far as Japanese Woodblock is concerned, but we'll see.  You have to start somewhere!

the way forward
© Teresa Newham