Out with the Old and in with the New

What to do with old prints?

I’ve often wondered what the right approach is to old work. It takes me years to say farewell to a piece that wasn’t quite successful or one that my style and practice has grown from. As I often work with traditional media, each original is hours of work and expense of material now sat on a page. It’s very hard to simply throw those projects away. With traditional printing it really is a labour of love and I often produce multiple copies with the intention, or at least hope, of selling them.

But alas things don’t always turn out quite the way you hoped. Or after a time your work develops into a new direction, the old stuff just doesn’t hold up anymore. I struggle to throw away artwork that may or may not have monetary value. As with everyone at the moment, ‘cozzie liv’ is hitting hard. The road to finding financial stability in the arts is very rough, well I’m certainly finding it so. So to throw away something that may still have some financial worth seems sacrilegious. But I may have found a solution.

I have gathered up some of my old prints of a similar style and aesthetic into “Clearance Packs”. I still see the work as valuable and they have helped me along my journey, but I am now ready to part with them; and move my creative practice into a new direction. Each pack has it’s own little theme and are all £20 or under. It’s great for anyone wanting to obtain affordable art and would also be a massive help to me while I’m on the hunt for a job in the creative field. You find the packs in my shop, as well as various other prints, cards and goodies.

sale

Print Lover's Set

Sale Price:£10.00 Original Price:£28.00

sale

Dungeons and Dragons: Range Attack Set

Sale Price:£16.00 Original Price:£35.00

sale

Dungeons and Dragons: The Adventure Begins Set

Sale Price:£20.00 Original Price:£40.00

Print Mystery

Naming Faces

Photo Engraving Printing Blocks

Sadly not a fun book/tv series, where a bunch of kids go around solving mysteries, but an update on my photo engravings investigation. I believe I’ve discovered the identities of two of my three mystery figures. The blocks themselves have little to no identifying features. But once printed I was able to google image search and have found two characters that I think are plausible matches. So without further ado may I present Mystery Man No.1…

Charles C. Collins

Left: Chuck in 1931 as head coach. Right: Print from my engraving

Chuck Collins, as he was often referred to, was an American footballer and coach. He was born 27th August 1903. He had a wife named Nell, three sons, Charles, David and Edmund and one daughter, Penelope. There is certainly a good amount of information and leads regarding his career, but not much is known about his personal life. I’ve yet to reach out to the universities he worked for as a coach, but hopefully that might be able to shed some light on his football career. I’m afraid I’m not much of an expert on American football (I’m more familiar with the other kind of football), but from what I can tell he seems to have had a good career. I found an image of a younger Chuck, helpfully in a very similar pose. The only slight difference I could really spot, other than his age, was his left ear. It looks a little larger in my image. This could be down to the camera angle, or perhaps a slight injury known as cauliflower ear. It’s hard to age my photo or to know the context it was taken in. The image I found online was taken from 1931 year book of the University of North Carolina. Where he is featured on page 246, the head coach of the football team. He would have been around 28. From a guess I would say Chuck looks to be in his early 40s in my printed image, which would date the image around the 1940s. It was an article from the New York times that gave me a better insight into Chuck’s life. He seems to be a self made man, started out life as a coach and ended up practising law in his later years. I’ve also been able to trace a direct living descendant, who I plan to reach out to soon and learn more about Chuck and his life. And of course gift one of the prints.

Print of my found photo engraving likely to be Chuck Collins

Felicjan Sypniewski

Left: Felicjan Sypniewski, botanist. Right: Print from my found photo engraving

I believe my second photo engraving is that of Felicjan Sypniewski. Although the lighting and angles are very different, having analysed the features, I do believe I have a match. Felicjan was born 24th January 1822 and died aged 55, on the 6th of September 1877, due to illness. He was a Polish botanist and a scientist. His work was ground-breaking particularly concerning malacologist and diatoms. His first wife Walerya died shortly after giving both to their son Joesf, in 1850. After several years Felicjan remarried, his second wife was named Walentyna (Valentina). They had four children together. Felicjan has been somewhat difficult to research, its been hard finding out details, often relying on google translate. I think there is still more to find but will require some specialist sources and a lot more time.

Print of my found photo engraving likely to be Felicjan Sypniewski

The mystery continues - Unknown Man

Left: Print of mystery man. Right: Sketch of print

Google image had been serving me pretty well until this point. But due to the quality of the block the results were far less helpful. Unable to make out the distinct features, Google was only able to match images of a similar poor quality. However I do have hope, as what features this character does have are quite noticeable and distinct. I’m working on creating a life like sketch and portrait to see if that might help. The source of the photo engravings are unknown. They were discovered in a junk shop in Brighton. I will do my best to keep you all updated on any progress. If you know anything about these three fellas, or they look familiar to you, please do reach out. I’d love to hear your stories and theories. You can contact me at info@estherstephenson.com

Until next time

Esther
Amateur Art Detective

Chuck sources

North Carolina 1931 Year book
1950 U.S Census
Wikipedia Chuck Collins (American football)
Chuck's Grave
New York Times reports Chuck's death
Penelope Collins' Engagement
Football facts about Chuck

Sypniewski sources

Wikipedia Felicjan Sypniewski
dbpedia.org/page/Felicjan_Sypniewski
xwhos.com/person/felicjan_sypniewski-whois
The polish Wikipedia page with working source links
Sypniewski Family

Printing Painting and some Shop Updating

Hello my faithful readers!

It’s been several months since my last blog post, but I have good news to share and some updates. My mental recovery has been a bit slow but we’re definitely getting there. I am reassured by my friends and family that I’m doing well and they themselves can see improvement. I’m venturing out into the world and cracking on with various projects.

I have recently joined London Centre for Book Arts (LCBA). A big thank you to my sponsor for making that possible. I am able to access specialist equipment and resources at this lovely print studio. I’m also getting to know my fellow printmakers, all of who are rather lovely. It’s so wonderful to be able to share ideas, to be motivated and be inspired by others. It’s really lifted me.

LCBA Studio. Ink, wood and metal type, Vandercook presses, Stephenson and Blake press and other wonderful equipment to get stuck into.

I had a lovely birthday celebration in Brighton. Not only did I have a lovely time with friends but we also found photo engravings which came out rather well. Who are they? I have absolutely no I idea. How will I use them in my work? I have absolutely no idea. But I hope to figure out something soon.

I’ve also finished printing my Christmas cards for this year and are now available in my shop. Last year’s have completely sold out but I still have stock from previous years, which are now reduced in price. Having access to the presses as made it much easier this year and allowed to challenge myself and explore the process.

The Aurora Borealis Card

£3.00

I’m also pleased to say I’ve finished my oil painting, at last! Just need to sign and varnish it. My first time using oils and I’m rather please with the outcome. I’ll be making prints as well as selling the original. So be sure to keep an eye out on my socials and website for the release. I’ve learnt so much through the painting and it really has been a pleasure to paint, despite the learning curves and challenges.

Working Title ‘View of Kennington Park from the Brandon Estate - Soon we won’t be able to afford to live here’

Having invested time and resources into my recovery it unfortunately does mean I am now struggling financially. It is a privilege and a pleasure to be able to focus on my art but due to my health I’ve had less time to invest into my work. It is comforting to know we are all in the same boat and that money is tight for us all, but saddening that so many people are only just managing to stay a float and others now slipping below the poverty line. With this in mind I would like to encourage you to shop small this Christmas. Share and like small businesses and creatives’ work on social media. It really does mean the world. The ripple effect investing in small businesses goes much further than you think. For example money I make goes towards materials I source locally and small independent online businesses , membership to a LCBA that preserves a variety of art forms and supports artists, local cafes that provide vital community spaces, rent to my parents (who provide so much support, not just to me but to the rest of my family). Not to mention various basic living costs. It really makes a difference. Your kind encouragement as well as sharing my work is all just as helpful. Thank you all for your continued support. Until next time.

Yours truly,

Esther x

Oh Heck

My goodness it’s been one heck of a month or so. To be honest I’ve really lost track of time and I’m constantly questioning what day, month, year or even what lifetime we’re in. By having a little look down my very irregular blog feed, you can see there’s been a several personal challenges that I’ve had to face. But the passing of a friend has been the hardest one. Although the news is heart breaking I’m trying to channel what fleeting waves of energy I have to get my creative career back on track and as so much needed self care. Life is far too short and I want to try to make the most of things. The run of bad luck has helped me revaluate what I’m doing and how I’m spending my energy. So I’m making adjustments, taking chances and hoping for the best.

One of incredibly helpful thing I’ve put into place for myself is transforming my work space to boost my productivity. I work out of my bedroom, which has always been a struggle. But now I’ve reworked the space to create a functional studio space and a cozy rest area I’m able to be far more productive. I’ve completely rearranged my room and I am now using my shelving unit as a room divider. This also double the shelving storage, as the shelves can be accessed from both sides. I affectionately refer to my rest area as my ‘nest’. The double bed takes up the entirety of the rest area. On one side, is the window to day dream out of, on the other, the room divider packed with various odds and ends and plenty of books. The work area is made up of two desks, the various cubby holes and drawers allow for useful and practical storage and I can easily access all my materials and equipment.

There’s still a lot I’m processing, which you may or may not have seen present in my work. Although there has been a lot of sorrow I have also been surrounded by so much love and kindness. It’s been a turbulent time, but I have also been witness and a part of some beautiful and profound expressions of love humanity.

These difficult times have pushed me forward into a time or renewal, emotionally, spiritually and creatively. Which is a very fancy way to say I’ll be updating my shop and website soon. Being a one woman show these changes take a little time so it won’t be an overnight transformation, but I’ll be sure to update you all through my social media pages on any progress I make. Thanks for baring with me and still hanging about. Looking forward to updating you all again soon.

Love, Esther

P.S. My shop is back OPEN! New additions on the way.

Shop Closed

Shop temporarily closed due to family crisis. Thank you for your understanding and looking forward to reconnecting with you all soon.

Rolling with the Smudges

Many people would find ink stained finger nails irritating, but for me they are true sign of happiness. They symbolise healthy mental wellbeing and joy. Inky fingers means I’m printing, one of my life’s passions. But what does that have to do with my mental health?

I have always found printmaking a joyous, but demanding process. Whether it be letterpress or woodcut, etching or screen printing; it requires massive amounts of energy. The majority of the time in printmaking your block/stamp/plate/type are the mirror image of what will be printed. In letterpress that means you’re spelling backwards. If you’re carving or engraving an image, then you need to consider how the image will look flipped and mirrored.

Linocut, the stamp and print side by side.

Other process have their interesting quirks. Screen printing and risograph require colours to be printed individually. This requires separating your image into separate layers, making sure to consider where you want the colours to overlap and create another colour. To process these colour layers they must first be made into black and white images. The outcome will be series of strange images all in black and white. A sensible printmaker labels each layer, so they know what colour the image will be when printed and brought together. All of which can boggle the mind at times.

Linocut and woodcutting often require you to think about the image in a inverted state. Generally you carve away the negative space. You can also layer colours by either creating multiple blocks or through the reduction process. Reduction uses only one block. You start with the lightest colour (highlights) which requires minimal carving. Every layer of colour, you carve away a bit more of the block. Until you reach your darkest colour (shadows). At this stage there isn’t much left of the block you started with.

A3 Block, woodcut print, ready for inking will be printed as all one colour.

Printmaking, whatever the process, takes careful planning and so much concentration; particularly in the early stages of the process. So many little things can go wrong that can impact the end print. You need complete focus, motivation and a calm state of mind to get through it.

Then comes printing, which can make or break your print. All that careful planning could suddenly be thrown out the window. Etching plates are exposed to acid and the length of time they are in contact with acid can effect the end result of the print. But there’s no knowing for sure until the acid has been washed away, ink is on the plate and you’ve bravely made your first print.

Your skill, knowledge and experience shows when you begin to print. A bit of luck can certainly help. A number of factors can impact your print and its success. Unseen residue on the block, not enough pressure from the press, consistency of ink, size of the roller, missing type from the letterpress, block surface isn’t level, paper too damp, wrong type of paper, dust or small fibres getting stuck in the ink, incorrect packing*, incorrect angle of the squeegee when screen printing, layers not aligning, unwanted noise** and fingerprints from messy hands. The list is endless. Sometimes the error is the mistake of the printmaker, sometimes it’s just one of those things. Whatever the reason, you have to either roll with it or work out a creative solution.

Proof prints. Some of the prints are faded due to a lack of pressure and paper absorbency.

Because of all the copious things that can go wrong, it can be quite frustrating and stressful. But that’s what makes it even more satisfying and rewarding when everything comes together; either by careful planning and preparation or through creative problem solving.

The process can also be physically demanding. Often requires you to be on your feet for hours at a time. Rollers tend to be slightly weighted, due to their material, the weight helps to evenly spread the ink. Although not ridiculously heavy, after a while of repeated motions, it’s easy to get tired. Presses come in all shapes and size and require a bit of muscle to operate them. At Uni we had a large Albion Press, I wasn’t strong enough to operate the leaver. My solution was to hold on and lean away from the press, using my body to pull the handle rather than strength. My tutor Jen could operate it with one hand, which I’m still in awe of. When I print regularly I can build up some impressive arm muscles. Printing can take anywhere from half a day to several days depending on how many prints or errors you encounter.

Photo credit: Jen Whiskerd https://www.instagram.com/p/CSNG6dTsRaa/

My own printing equipment had begun to collect dust. I felt incredibly guilty and ashamed. I labelled myself as lazy, I thought it was because I wasn’t passionate enough to power though and just do it. As I struggled with my mental health, I couldn’t find any motivation. I didn’t have the mental capacity needed to concentrate and focus on the design. I didn’t have the energy needed to use and operate my equipment. And I certainly didn’t have the resilience to face the inevitable issues when printing. But slowly, through medical and holistic treatment, I have been getting better. It gives me great joy to now share my prints with you all. Not only am I passionate about the process, but every print I make is a declaration and celebration of wellness and happiness.

My latest print, available in my shop.

Packing* paper and card used in the press to help with even pressure
Noise** where the block hasn’t been properly cut away leaving small lines or shapes that weren’t planned on the print.

Libby the Liberal - Non Binary God

1/2

2/2

Ndebele

The Ndebele are most noted for their arts and crafts and are best known for their vibrant house painting and intricate beadwork. They originated from the Nguni people, who make up two thirds of the black population of South Africa.

The Ndebele people were fierce warriors but were defeated by the Boers in 1883 and were forced into an oppressive life. House painting became a form of expression during these difficult times as well as means of communicating. The Boer saw it as a harmless cultural expression and allowed the Ndebele to continue, not knowing the true and sometimes rebellious meaning behind the symbols.

House painting is always done by the women of the community and they pass down the tradition from mother to mother. A well painted home is a sign of a good wife and mother. The women used this form of artistic to expression to communicate with other households, express their values, their emotions, prayers, identity and to announce marriages in the family.

https://www.flickr.com/photos/claudevoyage/8951872578

Traditionally natural pigment was used resulting in colours such as yellow ochre, black charcoal and other earthy tones. The homes are painted with limestone wash to create a striking contrast. They painted it all by using their fingers to create geometrical patterns. Each symbol carrying its own meaning. Walls were resurfaced after summer rains washed away the natural paint. It became a way for them to preserve their cultural identity.

As technology advanced so did their tools. They created brushes from bundled twigs and feathers and incorporated vibrant colours, such as reds, blues, greens, yellows and sometimes pink into their designs. Due to this the work became faster and the designs more complex, but the approach remained the same; black outlines, on whitewash walls, filled with colour.

https://www.flickr.com/photos/14735924@N06/3078949129

References

https://www.amusingplanet.com/2014/09/the-painted-houses-of-ndebeles.html
https://www.apsaidal.com/ndebele-houses/
https://www.exploring-africa.com/en/zimbabwe/ndebele/ndebele-people
http://www.krugerpark.co.za/africa_ndebele.html
https://en.wikipedia.org/wiki/Ndebele_house_painting

Harlem Renaissance

Harlem Renaissance was a multidisciplinary African-American cultural movement that was prolific during the 1920 and 30s. It was best know for it’s literacy work and performing arts. Writers such as Alain LeRoy Locke and musicians such as Louis Armstrong were all part of the movement, as well; photographers, painters, illustrator and sculptors. The movement promoted pride in African-American life and identity. African-American artists were taking pride in who they were, they were often inspired and encouraged by European artists as well each other. They looked back to their African roots their heritage, this had a strong influence on their work.

Aaron Douglas is considered the father of African American Art he was influenced by cubism and West African art. His first major commission as an illustrator was for Alain’s Locke’s book “The New Negro”. He combines stylised cubism, geometric shaped and art-deco style in his work.

Dust jacket by Aaron Douglas for Claude McKay's book A Long Way from Home (1937).Between the Covers Rare Books, Merchantville, NJ

James Van Der Zee captured life for African American’s within his home town and in Harlem, New York through his elegant photography.

Lady with Wide-brimmed Straw Hat, 1934
Gelatin silver print; printed c.1934
9 1/2 X 7 inches

Palmer Hayden reclaimed visual stereotypes and formed his own visual language from them. His work empowers the African-American community and portrays it honesty. His paintings tend to focus on the narratives of ordinary people, without be overly romanticised or exaggerated. They are sincere depictions. Hayden is reclaiming the narrative and visual identity of African-Americans.

Palmer Hayden, The Janitor Who Paints, ca. 1930, oil on canvas

Augusta Savage was the first African-American woman to open her own art gallery in America - ‘The Salon of Contemporary Negro Art’. Her sculptures portray the strength, beauty and dignity of African Americans.

Augusta Savage, Gwendolyn Knight, 1934–35. Courtesy of the Walter O. Evans Collection of African American Art.

This movement is an incredibly powerful and significant not just for the back community but for art and world culture. African Americans were now free people, free to be creative and free to express themselves and that passion shows in their work. This movement developed and affirmed the black community. Savage once said, “We do not ask any special favours as artists because of our race. We only present to you our works and ask you to judge them on their merits.” Their work has sadly not been presented in European art history, it has been overlooked despite it’s significance. Their work is incredible and has so much power behind the narrative of each creative piece. I would really recommend further reading into this wonderful movement it has so much to offer.

Sources

https://www.theartstory.org/movement/harlem-renaissance/
https://uk.phaidon.com/agenda/art/articles/2016/october/05/a-movement-in-a-moment-the-harlem-renaissance/
https://www.nga.gov/education/teachers/lessons-activities/uncovering-america/harlem-renaissance.html
https://www.britannica.com/biography/Aaron-Douglas
http://www.howardgreenberg.com/artists/james-van-der-zee?view=slider#2
https://www.studyblue.com/?src_url=https://www.studyblue.com/notes/note/n/bws-art/deck/4838224#flashcard/view/4838224
https://www.theguardian.com/artanddesign/2019/may/08/augusta-savage-black-artist-new-york
https://www.artsy.net/article/artsy-editorial-sculptor-augusta-savages-towering-impact-harlem-renaissance

Black Art Matters

As the western world continues to uncover racism hiding in plain sight I have made my own discoveries. I have been reflecting on how in all my 9 years of art education I had never studied, learnt or researched black artists. With the small exception of briefly exploring aboriginal art and a passive interest in islamic art. I painted my first black portrait only a year ago and my nude figure reference book published in New York 1998 doesn’t include one single back model. My art education is very very white.

So I have begun a study into black artists, to educate myself. I’m frankly embarrassed that after two degrees in art my knowledge and perspective is so narrow. There may be others like me who may also relate to this or generally be interested in learning more about black culture and art. So I would like to invite you on a personal journey with me as we broader our horizons and recognise the diversity of art. I am certainly not the first to write about this subject or indeed an expert, but I want to encourage other people to educate themselves and broader their understanding.

You may be wondering why we should learn more about black artists. Sadly colonialists and europeans used art to falsely justify white people being a superior race. I would really recommend watching the video below “White at the museum”, they provide an informed humours outline into the subject. Today, black artist are still not highlighted enough in education, galleries and museums. These institutes often echo the shadows of our darker past. Which is why it’s incredibly important we recognise them now.

When slaves were taken out of Africa and taken to America they were stripped of their culture as a means of controlling and suppressing them. I imagine this is why culture appropriation is such an issue today, particularly in America. Black americans have had to reclaim their heritage and history, to heal, recover and to lift themselves up. Of course they will be defensive of a culture that has been built upon decades of hardship. Especially towards those who lack a full understanding of it’s roots and see only its surface value.

I want to begin our journey in the nineteenth century with Henry Osswa Tanner.

Henry Osswa Tanner 1859-1937

Henry Osswa Tanner was born in America and was the first african-american artist to receive international acclaim. His early work explored african-american daily life, but he is most noted for his biblical depictions as well as his famous painting ‘The Banjo Lesson’.

His father was a minister and his mother a former slave who escaped via the underground railroad. When I think of art from the late 1800s I think of radical change and artistic freedom. I think of realism, true depictions of nature as it really was. I think of impressionism, colour, light and capturing the moment. I hadn’t considered that these art movements that I admired so much existed when slavery had only just been completely abolished in American in 1862. My study of art had romanticised this period and had neglected to include slavery in it’s timeline.

Tanner was born in Pittsburgh, Pennsylvania. He studied at Pennsylvania Academy of fine arts, he was the only black student. He was taught by Thomas Eakins an American artist who taught his publics to study from life echoing emerging european ideas.

In 1891 Tanner moved to Paris to enjoy social and artistic freedom, escaping the racism that he had experienced in America. In paris he was inspired by Realist artists such as Gustave Courbet. In 1923 Tanner was awarded the Legion of Honour, the highest order of national merit in France.

The Banjo Lesson 1893

‘The Banjo Lesson’ 1893 Henry Ossawa Tanner

The Realism movement focused it ideology around honest and truthful depictions. Which comes across in a profound manner in this painting. Tanner has captured two african-american figures in their daily life, a subject that has been neglected in art or depicted with racist undertones. The realism within this painting portrays a genuine and intimate connection between teacher and pupil, often assumed as grandfather and grandson. A black man playing the banjo was a stereotypical image, but here Tanner handles the subject sensitively. His use of lighting adds warmth and feeling to the image. The muted background is simple and plain, drawing our eye to the two figures, but also showing us the lifestyle that these two individuals lived. Although the subject is realistic the brushstrokes are expressive, a characteristic of Tanner’s work, adding an organic and raw feeling to this painting.

Daniel in the Lion’s Den 1907-1918 (later version)

‘Daniel in the Lion’s Ben’ 1907-1918 Henry Ossawa Tanner

In this work we see an impressionistic influence in Tanner’s use of colour and brush strokes. He depicts a miraculous moment with simplicity and calm, through his use of a cool colour palette and bare interior. He reminds us, through the subtle flash of the centre lion’s green eyes, the power and dangerous nature of the impressive beasts. He uses light not to highlight Daniel, his face is in the shadow, but the space between Daniel and a lion. Tanner is highlighting the miracle taking place. The original version of this painting gained Tanner recognition at the Paris Salon in 1896.

Tanner paved the way for other african-american artists such as Palmer Hayden. Tanner’s style was in keeping with European style and ideology, but his subject matter reflected his heritage.

Sources

https://www.oxfordartonline.com/page/african-american-art
https://study.com/academy/lesson/african-american-art-history.html
https://www.blackartinamerica.com/index.php/2018/11/20/a-very-abbreviated-version-of-black-art-history/
https://www.wikiart.org/en/henry-ossawa-tanner
https://en.wikipedia.org/wiki/Henry_Ossawa_Tanner
https://en.wikipedia.org/wiki/African-American_art
https://artsandculture.google.com/usergallery/art-in-the-late-1800-s/6gKCfZBPjpu6Jg
https://www.history.com/topics/black-history/slavery
https://www.metmuseum.org/toah/hd/eapa/hd_eapa.htm
https://collections.lacma.org/node/228961

Us at the Jazz!

One of the highlights of the events in Cheltenham is the incredible Jazz festival. Myself, three talented illustrators and the Cheltenham Illustration Awards were lucky enough to be given an opportunity to exhibit at the jazz festival, in the delightful Gardens Gallery.

It was a fantastic experience and a privilege to exhibit alongside so many talented illustrators including the successful entrants of the Cheltenham Illustration Awards. I thoroughly enjoyed meeting so many people enthusiastic about creativity - music and art. Hearing your wonderful feedback in person and finding out your thoughts about the work was incredibly lifting - a lovely reminder of why we do what we do.

We were thrilled and at times slightly overwhelmed by the sheer number of people we managed to fit through the gallery’s doors. Roughly 3,000 people visited us over 6 days!! We barely managed to keep the count. Huge thank you for all your support; to the visitors, the customers, well wishes, the helpful folk from Gardens Gallery, all our glamorous assistants, the University of Gloucestershire and of course my fellow exhibitors - Emma Evans, Naomi Powell and Aimee Sullivan - THANK YOU! We couldn’t have done it without you. Looking forward to the next big event! See you soon.

Wonderful Work of Wojciech Jakubowski

Stumbling across beautiful prints in person doesn't happen to me very often. I often hunt through boxes of frames in charity shops or rummage through second hand book shops looking for hidden treasure that an untrained eye might often over look. I usually find some interesting things but no original prints. However I recently find myself browsing through oxfam and longingly gazing at the collectors cabinet, when a rather unassuming grey book sleeve caught my eye. The description read;

"50 loose-leaf engravings by WOJCIECH JAKUBOWSKI
limited edition of 80 copies of which this is number 63
Accompanying booklet signed by Jakubowski
Published GDYNIA 1998
Mint condition"

They had me at 'engravings'. Timidly I asked the elderly lady at the desk if I might look through the prints, half expecting that I was not worthy to be entrusted with such a holy item. The cabinet was unlocked, I was seated and handed a magnifying glass. I was not disappointed, after carefully removing the outer sleeve and unfolding a simple but well made case I was blown away by the artistry and craftsmanship I found inside.  

Jakubowski's technique uses cross hatching to build up tone and line. The subject differs from print to print, but often we see depicted a romantic, classical impression of nature, figures and objects. Jakubowski uses abstraction alongside realism to create flow and contrast in his work. It amazes me how he manages to fit it all into such tiny prints and so effortlessly. It is easy to see that Jakubowski is a competent and experienced printmaker as he is able to successfully produce complex, harmonised prints. The Detail is mind blowing; he is able to engrave with incredible precision, in such a small scale creating intimate prints. I can't begin to imagine the patience and skill required to create such exquisite work. 

Sketches from Berlin

I've uploaded my sketchbook of Berlin, giving you another perspective of my time there. As well as sketches I often used my sketchbook to write notes about where I was or where I was going. I don't have a great sense of direction or memory and had to write clear instructions to myself when I explored Berlin on my own. The sketchbook was made by 'Paper and salt', you can find them on Etsy - Paperandsalt and Instagram - paper_and_salt . 

Berlin 5th - 10th March

Berlin is a wonderful atmospheric city that captures the best of urban living. It only takes a little detour off the main streets and you'll discover street art on epic proportions, brightening up the grey. The Germans have a reputation for being excellent designers which is reflected through their architecture and well designed city. It's almost surreal to walk along spacious streets of a large city without being jostled about by irritable crowds. 

There is also plenty of opportunities to delve deeper into Berlin and Germany's history. Although their recent history is tragic and difficult to fully grasp, memorials and museums commemorate those events and all those lost, often in thoughtful and powerful ways. Parallels between the refugee crisis and the plight the Jewish community has suffered were made through powerful and moving exhibitions. I will dedicate a separate blog post to these exhibitions. 

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On our first day we explored the lesser known streets of Hackescher Market. Here we were led through an archway; covered in graffiti, stickers and posters. Beyond the arch was courtyard dedicated to all manner of street art every inch of reachable wall was covered and decorated. At the other side of the courtyard tucked into a corner, camouflaged by stickers and posters was an intimidating door. On entering we discovered a stairwell covered in, you guessed it, graffiti and stickers. Unsure if we were really supposed to be there and if this entrance was meant to be open to the public, we discovered a haven to illustration. A bookshop and gallery dedicated to graphic novels, comics, zines, picture books and all manor of books on art, design and illustration. In the afternoon we explored the Pergamon museum and enjoyed views from the Fernsehturm TV tower.

On the second day we visited the Hamburger Bahnof museum, filled with fine art which, was mostly unappreciated by us illustration students, struggling to understand its meaning. On our way to Berlin’s technical museum we stopped by Brandenburg gate and the Reichstag building. We also took a moment to reflect in the Memorial to Murdered Jews in Europe. The memorial is designed so that as you step further into it, the ground gradually slopes down and the concrete pillars tower above you. The pillars are arranged in a grid formation, one minute its easy to see those around you but, by simply turning a corner you can quickly loose track of everyone around you and find yourself alone. Although you are aware of the possible ways to exist it’s easy to become disorientated and loose all sense of direction. Upon emerging I was struck with an element of guilt, I had experienced a small and (in comparison) pitiful amount of the emotions and sensations that many jews had faced but, unlike them I could walk away and leave that experience within the concrete pillars of the memorial. We spent the rest of the day at the technical Museum.

The third day we visited Staatliche museum Berlin full of all sorts of artefacts from around the world, a perfect place for lovers of nick naks and collections. In the afternoon we explored a section of Berlin’s botanical gardens. Due to its vast scale and our mission to capture the wonderful and weird plants through sketches and photos we were enable to see it all within just one afternoon. (sketches of the trip to follow)  

Our final day we were given free reign. I decided to have a wonder and an explore on my own. It was only at this point did finally grasp how the S-bahn worked and could at last navigate my way. I started my day at the jewish museum. The architecture created atmospheric spaces giving visitors an insight into the mentality and emotions of how many jews felt suffering under the nazis. I then made my way to the Kathe Kollwitz museum, it was fascinating to see how her work developed through the years and her influences. I wrapped up the day at Brohan museum, their collection includes art nouveau, art deco, functionalism and paintings and prints from the Berlin Secession. I don't think I've been so excited over vases before.  

What I appreciated most about my time in Berlin was the opportunity to learn and connect emotionally to the history. Something which is hard to pick up in a text book. The Parallels made between refugees of the past and the refugees of today were thought provoking and powerful. I will explore this further in my writings another day.

Looking forward to sharing some of my sketches of Berlin with you as well my time at the London book fair. But that's all for now.

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Berlin

Looking forward to sharing my travels and adventures with you. Only one more week before I head off to Berlin. I'll be posting photos and sketches here, of my time in Berlin. Other events and trips will also follow. Auf wiedersehen!