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Fish #148 Black Seabream Spondyliosoma cantharu ~ Jackie Curtis
Restaurant drawing of fish bones after dinner.
Fish have interested me for some time particularly flat fish. I often draw the bones after a meal (much to the exasperation of the restaurant staff). I have also recently carefully boiled some filleted plaice to try and get a print from the bones.
A ghost print from fish bones.
I selected Black Seabream because it is a fish that has interested me for some time. A few years ago I used a Japanese technique Gyotaku a traditional Japanese art of printing from an actual fish. A local fishmonger kindly gave me a Seabream to print from. The technique gives some lovely detail of the fish scales and fin shapes which is an ideal basis to develop a design.
Gyotaku print from Black Seabream.
I have used this Gyotaku print as a basis for plastecine demo prints for workshops - plastecine is rolled out and materials and tools used to emboss the plastecine which is then inked up and printed from.
Black Seabream printed from embossed plastecine
I have created 3 new prints for 200 Fish. The first print is created from a variety of materials such as sequin waste, corrugated cardboard and lace that, using the printing press, have embossed mount board and then a print is taken from the mount board there are 2 prints in this series.
Black Seabream from embossed mount board mounted to fit 12" x 16" frame.
I have also created two monorints. Using materials similar to those that embossed the mount board textures are created on an inked plate and a single print is taken.
Ocean light - Black Seabream Monoprint mounted to fit 12" x 16" frame
Black Seabream Monoprint mounted to fit 12" x 16" frame
Ghost of Black Seabream - what might become
Jackie Curtis is an artist and printmaker inspired by the natural world. Jackie can often be found walking on the Somerset Levels observing the landscape and birds, sketch book and camera in hand; looking for materials and ideas to use in her printmaking. Jackie works from her Somerset studio using relief techniques. Her monoprints are spontaneous, lively innovative prints often created as an immediate response to recent experiences. The collagraphs, produced from a collage of materials, are rich in texture and depth of tone. Linocuts are more intricate and stylised with strong elements of pattern, whilst her woodblocks are influenced by natural grain, shape and flaws in the wood. Visitors to her studio are welcome by appointment please email firstname.lastname@example.org or contact her through her webpage www.jcurtisart.com. To keep up to date with recent work and exhibitions please follow @jcurtisart on Twitter.
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