The problem of showing your work...

The problem with making work is finding the right space to show it. "Abstract Heads:Pentecost" (2014) is my most ambitious work to date. 15 sculptures and 45 unique prints, which will need a sizeable and appropriate space to show them in.

If you have any ideas, let me know!

El problema de hacer las obras es encontrar el espacio adecuado para mostrarlas. "Cabezas Abstractas: Pentecostés" (2014) es mi obra más ambiciosa hasta la fecha. 15 esculturas y 45 grabados únicos, que tendrán un espacio considerable y adecuado para mostrarlas.

Si usted tiene alguna idea, que me haga saber!

Here are some photos from the studio:
Aquí tiene algunas fotos del taller:

The problem of bases...

Having made the Abstract Heads for "Pentecost" I spent some time looking at how to give them some kind of base or plinth. Here are some pages from my sketchbook:

Después de haber hecho los Cabezas Abstractos por "Pentecostes" pasé algún tiempo pensando cómo darles algún tipo de base o peana. Estas son algunas de las páginas de mi cuaderno de dibujo:




In the end, I chose a simple solution to the problem:
Al final, opté por una solución sencilla para el problema:

Completed Prints for Pentecost 2014

With the help of Cameron Fraser I have completed the 15 triptych prints for Pentecost, a total of 45 unique prints. Here are some photos of the prints drying on the studio floor.

Con la ayuda de Cameron Fraser, he completado las 15 "trípticos" de Pentecostés, en total, 45 grabados únicos. Aquí están algunas fotos de los grabados que se secan en el suelo del estudio.

Choosing Paper

In my test printing I used the following papers:

1. Mould-made Watercolour Board Hahnemühle
300 gsm - matt, rough and hot pressed
The mould-made Hahnemühle watercolour board 300 gsm is natural white, acid free, lightfast and extremely resistant to ageing. The Pads are glued and gauzed to ensure flatness when wet. All sheets contain the “Cockerel” watermark and have 4-sided deckle edges.
Hahnemuehle Website

2. Somerset® Printmaking Paper
100% Cotton - Highest quality papermaking material with excellent archival properties
Mould Made - Superior surface stability.
Acid Free & Archival -The paper will last for hundreds of years (in good storage conditions) and won’t discolour or fall apart.
Deckle Edges - The 4 deckle edges are visually very beautiful, and are perfect for float framing.
Beautiful Random Surface Texture - Surface enhances the finished print
Watermarked - For authenticity
Suitable for Multiple Printmaking Techniques
Somerset is suitable for block/relief printing, embossing, intaglio/etching, hand lithography, laser printing, letterpress, silkscreen/serigraphy, pastel and charcoal
Somerset Website

3. Super Alfa de Guarro Casas

El papel Super Alfa está compuesto en un 60% por fibras algodón, presenta marca al agua y barbas por los 4 lados
Tiene un color ligeramente amarfilado con filigrana.

Tamaño habitual del pliego es de 76*112 cm, con un gramaje de 250 gr, ideal para grabado aunque puede tener otros usos, especialmente indicado para Grabado al buril, Aguatinta y Aguafuerte. La textura del Super Alfa es rugosa.
Super Alfa Website

4. Fabriano Rosaspina

Made with qualitatively high-level raw material (60% Cotton). Rosaspina is a mould made paperboard and suitable for all printmaking techniques (etching, lithography and silk-screening).
The watermark runs parallel to the two larger sides of the sheet and reproduces the Fabriano trademark and logo.
The two larger sides are deckled.
Rosapina Website

5. BFK Rives is a 100% cotton, mouldmade paper which is acid free buffered. Its smooth surface and light sizing make it ideal for most artistic and printing techniques. BFK Rives has four deckle edges and a registered watermark.
Excellent for: Lithography, Intaglio Etching, Silkscreen, Linocut, Collotype and Drawing.
Also for: Typography, Embossing and Foil Stamping.
Advantages:
• 100% cotton for optimal absorption of water, a paper strength increased and the unique feel.
• Quality Conservation
• Smooth the delicate grain.
• Hue pure white, obtained naturally and does not yellow over time..
• 4 deckle edges, watermarked.
• Wide choice of weights: 210 gsm to 300 gsm.
BFK Website

6. Velin Arches ® is a 100% cotton, acid-free fine art printing paper. The paper is mouldmade using carefully selected cotton fibers that give the paper a sensual touch and strong resistance.
Its surface is marked and has a smooth grain similar to that of handmade papers. It is a watermarked paper, the four deckle edges, ideal for drawing, editing and art prints.
It is available in several weights from 160 gsm to 400 gsm.
Advantages:
• 100% cotton for optimal absorption of water, a paper strength increased and a unique feel.
• Quality preservation.
• Grain marked harmonious.
• Natural white that will not yellow over time.
• 4 deckle edges, watermarked.
• Wide choice of weights: 160 gsm to 400 gsm.
Velin Arches Website

Printing Practice with Cameron Fraser

With thanks to Cameron Fraser (www.fraserartworks.com)

Click on the images to see full size.

Embossing

With the help of Cameron Fraser (http://www.fraserartworks.com/) I did a test emboss. This looks very promising, and after a serious testing session, I should be able to get cracking with making a series of prints before welding the sculptures of Pentecost. http://www.fraserartworks.com/ ) me hizo una prueba de relieve. Esto se ve muy prometedor, y después de una sesión de pruebas serias, debería ser capaz de darle caña a la fabricación de una serie de impresiones antes de soldar las esculturas de Pentecost.

Cutting planes

Arrangement for printing

The first cut

Finally got around to cutting the sheets of metal for Pentecost.

Finalmente llegamos a cortar las hojas de metal para el Pentecost.

Colours for Pentecost

Here is rough guide to the colours to be used in painting Pentecost.

Aquí es guía aproximada de los colores que se utilizarán en la pintura de Pentecostés.

Welding practice

Castells Vilaseca

Castells Vilaseca

Today I went to Castells Vilaseca to get prices for the material I need to create "Pentecost". I also bought a few bits to practice welding.

Hoy fui a Castells Vilaseca para obtener los precios de los materiales que necesito para crear "Pentecost". También compré unos trocitos de practicar la soldadura.

The Holy Spirit comes at Pentecost

Acts 2 (New International Version)


The Holy Spirit Comes at Pentecost

1 When the day of Pentecost came, they were all together in one place. 2 Suddenly a sound like the blowing of a violent wind came from heaven and filled the whole house where they were sitting. 3 They saw what seemed to be tongues of fire that separated and came to rest on each of them. 4 All of them were filled with the Holy Spirit and began to speak in other tongues as the Spirit enabled them. 5 Now there were staying in Jerusalem God-fearing Jews from every nation under heaven. 6 When they heard this sound, a crowd came together in bewilderment, because each one heard them speaking in his own language. 7 Utterly amazed, they asked: "Are not all these men who are speaking Galileans? 8 Then how is it that each of us hears them in his own native language? 9 Parthians, Medes and Elamites; residents of Mesopotamia, Judea and Cappadocia, Pontus and Asia, 10 Phrygia and Pamphylia, Egypt and the parts of Libya near Cyrene; visitors from Rome 11 (both Jews and converts to Judaism); Cretans and Arabs--we hear them declaring the wonders of God in our own tongues!" 12 Amazed and perplexed, they asked one another, "What does this mean?" 13 Some, however, made fun of them and said, "They have had too much wine. "


Hechos 2 (Sagradas Escrituras (1569)


1 Cuando se cumplió plenamente el día de pentecostés, estaban todos unánimes juntos en el mismo sitio; 2 y de repente vino un estruendo del cielo como de un viento vehemente que venía con ímpetu , el cual llenó toda la casa donde estaban sentados; 3 y se les aparecieron lenguas repartidas, como de fuego, que se asentó sobre cada uno de ellos. 4 Y fueron todos llenos del Espíritu Santo, y comenzaron a hablar en otras lenguas, como el Espíritu Santo les daba que hablasen. 5 (Moraban entonces en Jerusalén judíos, varones religiosos, de todas las naciones que están debajo del cielo.) 6 Y hecho este estruendo, se juntó la multitud; y estaban confusos, porque cada uno les oía hablar su propia lengua. 7 Y estaban atónitos y maravillados, diciendo: He aquí ¿no son galileos todos éstos que hablan? 8 ¿Cómo, pues, les oímos nosotros hablar cada uno en su lengua en que somos criados? 9 partos y medos, y elamitas, y los que habitamos en Mesopotamia, en Judea y en Capadocia, en el Ponto y en Asia, 10 En Frigia y Panfilia, en Egipto y en las partes de Africa que está de la otra parte de Cirene, y romanos extranjeros, tanto judíos como convertidos, 11 cretenses y árabes, les oímos hablar en nuestras lenguas las maravillas de Dios. 12 Y estaban todos atónitos y perplejos, diciendo los unos a los otros: ¿Qué es esto? 13 Mas otros burlándose, decían: Que están llenos de mosto.

The Making Of "El Greco's Pentecost" by jd holden

Over the next few weeks I'll be blogging about this new piece of work I am making...
Durante las próximas semanas voy a ser un blog sobre este nueva obra que estoy haciendo ...