Kallima is a limited edition digital print with free-form abstract shapes. It is one of a series. It is an original image, not a reproduction, and does not exist in any other form.
The abstract shapes in Kallima come from the process described in this blog post. I make each print by digitally combining grey scale files originally created from colour separation files. The source images are scans of my other work in various physical media. The process leads to images like this one, characterised by areas of broad flat colour.
The edition contains 70 prints. Each print is 27 cm x 27 cm (about 10.5″) on 30 cm x 30 cm sheets. I print to order using light fast pigment inks on 285 gsm archival quality matt paper.
Frames or mats shown in the listing are for illustration only. They are simulated in software. Your print will be unframed and unmounted unless you also buy an optional mat, sized for a 50 cm x 50 cm frame.
Makindo is a digital print in a limited edition of 70.
I make each print by digitally combining grey scale files. I created these originally as colour separation files. The source images are scans of my other work in various physical media. You can read more in this blog post. The process leads to images like this one, characterised by areas of broad flat colour.
The edition contains 70 prints. Each print is 27 cm x 27 cm (about 10.5″) on 30 cm x 30 cm sheets. I print to order on 285 gsm archival quality matt paper.
Frames or mats shown in the listing are simulated in software. They are for illustration only. Your print will be unframed and unmounted unless you also buy an optional mat, sized for a 50 cm x 50 cm frame.
Bright-eyed Cassandra is a new digital print from my War Music series. My aim with this series, and other digital images I will be adding soon, is to provide original art at a genuinely affordable price. The process I use, takes data from existing images, but the final product is entirely new. These are genuine originals, not reproductions. There is no pre-existing image in another medium. This blog post explains more.
The theme for the series comes from Christopher Logue’s poem sequence, also called War Music, which retells Homer’s Iliad. There is no literal link, the titles just seem to ‘fit’ the images.
Each print is 27 cm x 27 cm (about 10.5″) on 30 cm x 30 cm sheets. I print to order using light fast pigment inks on 285 gsm archival quality matt paper, then sign and number each one. The edition size is 70.
Frames or mats shown in the listing are for illustration only. You have several options when buying.
Unframed and unmounted, shipped flat in sturdy protective packaging.
Unframed, but in a mat. Matted prints come packed with a backing board ready to drop into a standard size, 50 cm x 50 cm frame, or for you to take to your local framer. The mat colour is antique white. (Base price + £10)
Framed and in a mat. This has a simple black moulding with acrylic glazing to reduce weight and for safety in shipping. To keep to an affordable price, the frame will be commercially produced, not hand made. This option also incurs higher shipping costs.(Base price + £35)
Follow this link for a range of other affordably priced items, all under £75.
Briseis – prize of Achilles is a new digital print, one of a series. The series name comes from Christopher Logue’s ‘War Music’ poem sequence, which retells Homer’s Iliad. There is no literal link, the titles just seem to ‘fit’ the images.
My aim with this and the other digital images I am adding soon, is to provide original art at an affordable price. The process that I use, takes data from existing images, but the final product is entirely new. These are genuine originals, not reproductions. There is no pre-existing image in another medium. This blog post explains more.
Each print is 27 cm x 27 cm (about 10.5″) on 30 cm x 30 cm sheets. I print to order using light fast pigment inks on 285 gsm archival quality matt paper, then sign and number each one. The edition size is 70. Every print in the ‘War Music’ series is the same size to ensure consistency when grouped together.
Frames or mats shown in the listing are for illustration only. You have several options when buying.
Unframed and unmounted, shipped flat in sturdy protective packaging.
Unframed, but in a mat. Matted prints come packed with a backing board ready to drop into a standard size, 50 cm x 50 cm frame, or for you to take to your local framer. The mat colour is antique white. (Base price + £10)
Framed and in a mat. This has a simple black moulding with acrylic glazing to reduce weight and for safety in shipping. To keep to an affordable price, the frame will be commercially produced, not hand made. This option also incurs higher shipping costs.(Base price + £35)
Follow this link for a range of other items priced under £75.
I’ve started adding some new digital prints to the shop. I’ve always worked this way, it is where I started as a printmaker. Because I’ve been doing this for a while (more than 20 years), I’ve written several previous posts on this aspect of my work, but this one is probably the best place to start if you want more detail.
Originally, I priced these at a similar level to my work in other print media. On reflection, though, I have decided to try a different approach. I have always tried to have work available at a wide range of price points, and decided to use these new prints to support that strategy. Apart from images made by photomanipulation, I have withdrawn all the digital work I had in the shop, I’m now in the process of adding them back, but at a much lower price (£40 reduced from £80) and with a slightly larger edition size (70 instead of 50).
No one has been affected by this change. None of the work I had in the shop had been sold, so no one has been adversely affected by this change.
These are still originals. There is no pre-existing image in another medium. I created them digitally and they had no physical existence until I printed them. See here for a definition of digital printmaking from the Royal Society of Painter-Printmakers. You can read my own take on it here.
Andromache – digital print
Makindo – abstract print
Kallima – abstract print with freeform shapes
Electric Avenue – limited edition digital print
Phlogiston – digital abstract print
Waterblue – limited edition digital print
Edited for style and to include extra links 31/12/21
Andromache – wife of Hector is from a new line of genuinely affordable original art prints. The process that I use, takes data from existing images, but the final product is entirely new. These are genuine originals, not reproductions. There is no pre-existing image in another medium. This blog post explains more.
The theme for the series comes from Christopher Logue’s poem sequence, also called War Music, which retells Homer’s Iliad. There is no literal link, the titles just seem to ‘fit’ the images.
Each print is 27 cm x 27 cm (about 10.5″) on 30 cm x 30 cm sheets. I print to order using light fast pigment inks on 285 gsm archival quality matt paper, then sign and number each one. The edition size is 70.
Frames or mats shown in the listing are for illustration only. You have several options when buying.
Unframed and unmounted, shipped flat in sturdy protective packaging.
Unframed, but in a mat. Matted prints come packed with a backing board ready to drop into a standard size, 50 cm x 50 cm frame, or for you to take to your local framer. The mat colour is antique white. (Base price + £10)
Framed and in a mat. This has a simple black moulding with acrylic glazing to reduce weight and for safety in shipping. To keep to an affordable price, the frame will be commercially produced, not hand made. This option also incurs higher shipping costs.(Base price + £35)
Follow this link for a range of other affordably priced items, all under £75.
I’ve posted before about using my monotype prints as source imagery for digital prints. I’ve started adding some of these prints to the shop. You can find them here, but I’ve added a few tasters below. I’ve bitten the bullet and made them limited edition (they will all be in editions of 50}. I don’t like doing it, but every time I ask others, they seem to prefer a limited edition to open. They will be in a mat sized for a 50 cm x 50 cm frame, so will fit readily available commercial frames, or you can have one made.
I’m thinking about offering some of them in a portfolio form, perhaps with some additional material. I don’t know what the market would be for something like that, so any observations or views would be welcome. When I have a better idea of what I want to do, I’ll put up a form so you can register an interest.
Electric Avenue is a limited edition abstract print, one of a series. It is an original image, not a reproduction, and does not exist in any other form.
I make each print by digitally combining grey scale files. I created these originally as colour separation files. The source images are scans of my other work in various physical media. You can read more in this blog post. The process leads to images like this one, characterised by areas of broad flat colour.
The edition contains 70prints. Each print is 27 cm x 27 cm (about 10.5″) on 30 cm x 30 cm sheets. I print to order on 285 gsm archival quality matt paper.
Frames or mats shown in the listing are simulated in software. They are for illustration only. Your print will be unframed and unmounted unless you also buy an optional mat, sized for a 50 cm x 50 cm frame.
Waterblue is a limited edition digital print, one of a series. It is an original image, not a reproduction, and does not exist in any other form.
I make each print by digitally combining grey scale files. I created these originally as colour separation files. The source images are scans of my other work in various physical media. You can read more in this blog post. The process leads to images like this one, characterised by areas of broad flat colour.
The edition contains 70 prints. Each print is 27 cm x 27 cm (about 10.5″) on 30 cm x 30 cm sheets. I print to order on 285 gsm archival quality matt paper.
Frames or mats shown in the listing are simulated in software. They are for illustration only. Your print will be unframed and unmounted unless you also buy an optional mat, sized for a 50 cm x 50 cm frame.
This is the first of a planned series of posts about making stencils for gel printing using a digital cutter. In my case it is a Cricut Maker, but the principles are general.
These stencils came out of some thoughts I had about making silk screen versions of my gel prints. I was hoping to use colour separations. This is the process by which original full-colour digital files are separated into individual colour components for four-colour process printing. Every element in the file is printed in a combination of four colours: cyan, magenta, yellow, and black. This is known as CMYK in the world of commercial printing and in silk screen printing. This isn’t an original idea, of course. Anyone familiar with Matisse will almost certainly be aware of his stunning cutouts, but may not be aware that they were also published in silk screen versions.
I began with a scan from one of my prints. I created the CMYK colour separations with Paint Shop Pro (from now on PSP). Unfortunately, I no longer have access to screen beds, so this is currently not an option. In practice, I don’t think I’m fit enough any more, to spend several hours pulling ink through the screens. However, having already used scans of pen drawings to make stencils, I decided to experiment with these separations. The print I’m using here is called ‘Area 52’, available from my shop.
The image below is an example of one of the colour separations. This is from the magenta colour channel. In this form, it clearly can’t be used directly to make a stencil suitable for gel printing.
Magenta colour separation from original image file
Simplifying the file
To create a version that can be cut as a stencil, it needs to be much simplified. I did this using various tools in PSP, which led to this. (More details of the process by which I did this, will be in later posts. If you can’t wait though, get in touch and I’ll try to help.)
Simplified Magenta channel
PSP allows me to digitally recombine these simplified images, which led in turn to this image. This is closer to what you would get with screen printing, but is useful to visualise the outcome.
Digital image created from recombined and simplified channels
Be flexible
However, just because a file is called magenta, doesn’t mean that it has to be used that way. PSP allows me to digitally recombine the image files in any order. With four files to combine, there are 24 possible combinations, so this one below is just one. It helps to make a point though. When the stencils are cut and used to make gel prints, you have complete freedom in the colour you use.
Image created by recombining channels in different order.
In the real, as opposed to the digital world, there are other variables. Varying the opacity of the paint used, and varying the order in which you use the stencil, will also give different results.
Finally, just as an experiment, here is a combination image using CYMK files from two different images. I’ve included it just to make the point that once you have the stencil you have complete freedom in their use.
Electric Avenue – limited edition digital print
In many ways, this last image is analogous to making a collagraph print from multiple plates. I have experimented with this many times in the past.
