‘Wildlife artist of the Year’ (WOFA) submission 2 of 2: Hammerhead school

Hammerhead school (final print 1 of 5) © Peter Gander

From a cute hippo mother and calf to slightly edgier sharks. Not just any sharks, but the threatened hammerhead shark. I chose this as an Endangered Species entry to the WOFA competition in response to seeing Hugh Fearnley-Whittingstall’s impactful Fish Fight series recently featuring the ghastly practice of removing fins (‘finning’) from living hammerhead sharks and throwing the finned animal overboard to die. Image-wise I was interested in an unusual take on the shark and was inspired by a photograph I’d seen of a school of hammerheads seen from below in layers of blue, the lighter ones a shade paler than those closer to the diver’s camera lens, below a high sun.

 

Sketching out the options

I reigned it back from this version ;)

Cutting the Japanese vinyl

Checking progress

Mixing up the various shades of shark

Rolling out the first shark blue

The background (cardboard) registered & ready

As you can see form the initial sketch, I changed the design as I felt it was overly fussy as I went along and also changed it from portrait to landscape format. There are three shades of shark, and the beauty of the Japanese vinyl, compared with traditional lino, is that it prints both sides, so I was able to print a few sharks, turn them over for a flipped image version and hey presto you have a two-for-the-price-of-one images! These were dotted around a master trace of the design and I outlined each one to verify that a space had been taken up, to avoid over-printing an existing shark. Like the two previous posts, King Crow and Hippo & Calf, I opted for a different substrate for the background. Cardboard in this case. Not the corrugated version, but the pulpy type found as a sketchbook backing. The sun images was simply cut out with a scalpel. Board is perfect when after a change of texture, when making simple shapes, or simply when lino or vinyl simply isn’t warranted. For this print, because I wanted a fast turnaround of reprinting and overprinting the same sheet, I opted for water-based (fast-drying) printing inks. For any UK printmaker’s interest, I used Seawhite (of Brighton) block printing inks available online or from Cowling & Wilcox (Soho) if you’re in London. Printed on A3 160gsm cartridge paper (420mm w x 297mm h), 1 of 5 only.
• 'Hammerhead School' has been selected for the Wildlife Artist of the Year 2011 exhibition at The Mall Galleries, London between 6^th and 11^th June 2011

‘Wildlife artist of the Year’ submission 1 of 2: Hippo & calf

Hippo & calf © Peter Gander

The inked hippos await the roller press

The whole background is ready for inking

Adding shellac to prevent ink soak-up

The lino is registered onto a paper template

A pencil rubbing checks the linework (in reverse)

Cutting the image out with a craft knife

Carving the lino (detail)

I have just finished and entered two very different prints for the David Shepherd ‘Wildlife Artist of the Year’ open art competition. Both, however, are combination prints, using the same techniques as the previous post; King Crow. That is, using both Japanese vinyl and cardboard printmaking in the same print. Both use the vinyl for the main images and cardboard for the more textured backgrounds. Hippo & calf utilises the black paper to full effect in that the paper becomes the linework. In other words, the cut lines, rather than the areas conventionally left to print by cutting away all BUT the lines, are revealed by the background paper. So what looks like a 3-colour linoprint (for the hippo itself) is actually a single (graduated) print on black paper. The ink was mixed on the roller in this case. The carboard background was printed seperately, flecks of white paint added by hand too. Every print is unique as each one is coloured up seperately and is effectively a bit of a mixture of collagraph and monoprint. Oil-based inks on 200gsm black card.