THREE PRINTMAKERS 2021

Winter Exhibition

Three Printmakers

FROM 6 FEBRUARY 2021

An online exhibition of limited edition prints launching on Saturday 6 February 2021

Melvyn Evans

Robert Greenhalf

Tim South ll

Winter Exhibition

Three Printmakers

FROM 6 FEBRUARY 2021

An online exhibition of limited edition prints launching on Saturday 6 February 2021

Melvyn Evans

Robert Greenhalf

Tim Southall

Three Printmakers We are delighted to be featuring three outstanding printmakers in our winter exhibition. Between them they cover the processes of etching, screenprints, lino and woodcut. The three artists are unique in their creativity and technical prowess, but they are connected by common themes to the natural world and our connection to it. The exhibition is online because of Covid and each artist shares a brief glimpse of what the year meant to them...

Melvyn Evans ‘Being able to work does keep me sane, and I think a lot of people who would not have thought themselves creative are now finding an inner creativity and flourishing. Hopefully this will continue and be one of the positives of this year’

Robert Greenhalf 'I am trying this time to gain my inspiration from my immediate surroundings, the garden and surrounding countryside, so my subjects will be woodland birds in Winter trees. I have certainly found a renewed interest and appreciation of the place where I live’

Tim Southall 'Since I wrote the piece about lockdown in the early days of the pandemic, I have accepted that things are different now. In the brief hiatus over the summer, I was able to spend a month in the print studio in the UK making new silkscreen prints. I didn't realise it at the time, but this was the high point of year’

You can see all the work in Three Printmakers on our website gallerytop.co.uk CHATSWORTH ROAD, ROWSLEY, DERBYSHIRE DE4 2EH 01629 735580 INFO@GALLERYTOP.CO.UK WWW.GALLERYTOP.CO.UK

Melvyn Evans Painter, Printmaker

LOOKING BACK ON 2020 ‘The past year has been very difficult for many people and it's made me appreciate how fortunate I am. I'm still able to work in my studio in much the same way as before and I'm very grateful that people are continuing to buy my work. This has only been possible because I can still order supplies from amazing retailers such as TN Lawrence and son, and because galleries like you go the extra mile to support artists. Being able to work does keep me sane, and I think a lot of people who would not have thought themselves creative are now finding an inner creativity and flourishing. Hopefully this will continue and be one of the positives of this year. ‘

Melvyn Evans in his studio

Coastal images

…

Birds and Rocks Edition of 60.

Image size: 50cm x 40cm

Boats, Church and Lighthouse Edition of 60.

Image size: 50cm x 40cm

Casting Off

Cliffs and Headland

Edition of 60.

Image size: 50cm x 40cm

Edition of 60.

Image size: 50cm x 40cm

‘…we spent a lot of time close to the sea and, as children, we were left to our own devices to wander and explore…’

Finisterre Moderate to Fair

Fish and Nets

Edition of 60.

Image size: 50cm x 40cm

Edition of 60.

Image size: 50cm x 40cm

Fish on the Quay

Finisterre Moderate to Fair

Edition of 60.

Image size: 50cm x 40cm

Edition of 60.

Image size: 50cm x 40cm

Leaving Harbour

Morning on the Quay

Edition of 60.

Image size: 50cm x 40cm

Edition of 60.

Image size: 50cm x 40cm

The North Sea

Song of the Siren

Edition of 60.

Image size: 50cm x 40cm

Edition of 60.

Image size: 50cm x 40cm

Landscape images

Ancient Head Form 111

Ancient Head Form 1

Edition of 60.

Image size: 50cm x 40cm

Edition of 60.

Image size: 50cm x 40cm

Ancient Head Form 11

Forms in the Landscape

Edition of 60.

Image size: 50cm x 40cm

Edition of 60.

Image size: 50cm x 40cm

‘…marker stones or specific sites give us an insight into the importance of certain aspects of the landscape to previous generations.

Landscape with Ancient Boat Form Edition of 60.

Image size: 50cm x 40cm

Moon and Sun Edition of 60.

Image size: 50cm x 40cm

Stone Boundaries

Stone Forest

Edition of 60.

Image size: 50cm x 40cm

Edition of 60.

Image size: 50cm x 40cm

Stone Tree

Stone by Moonlight

Edition of 60.

Image size: 50cm x 40cm

Edition of 60.

Image size: 50cm x 40cm

Echo of Landscape

Three Sentinels

Edition of 60.

Image size: 50cm x 40cm

Edition of 60.

Image size: 50cm x 40cm

Robert Greenhalf Painter, Printmaker LOOKING BACK ON 2020 ‘I missed my days sketching and painting in the field and a project for Artists for Nature Foundation in the Gironde Estuary in the West of France that should have taken place in May had to be cancelled, as did a week's painting with some fellow wildlife artists.I am finding it more difficult to be creative at the moment during this lock-down. The daylight hours are very short and there are far more interruptions. I am trying this time to gain my inspiration from my immediate surroundings, the garden and surrounding countryside, so my subjects will be woodland birds in Winter trees. I have certainly found a renewed interest and appreciation of the place where I live.’

Robert Greenhalf All of the inspiration for my woodcuts comes from encounters with wild birds in the field. I spend as much time as possible drawing my subject from life, before returning to the studio to compose a design that reflects my experience. Small 'thumb-nail" sketches are made first to try out possible designs, before one is selected and blown up to the required size. When I'm happy with the design, it is traced down onto the first prepared wood or lino block, which will generally be the black block which will contain the drawing of the composition.

Cutting can now begin, removing from the block all areas that will not be black in the final print. This can then be inked up and printed and then off-set on to all the other prepared blocks that are required - usually five or six, one for each colour in the final print. Each block now has to be cut in the same manner, before each is inked up in its own colour and passed through the press in sequence to form the finished proof. At this stage alterations and adjustments may have to be made to the blocks and to the colours, before finally the print is ready to be edition. Each one is hand printed, one block at a time and with my assistant I can usually print around twenty per day.

cuts and then his etchings. With his encouragement I continued making lino and woodcuts and also started etching, producing large detailed landscapes which were to be my main source of income for many years.

I eventually felt like a break from etching and went back to my first love, linocut and my other passion, wildlife. Robert Gil lmor was one of a very few artists making wildlife linocuts at that time and I was aware of his prints from an early age. He in turn had been influenced by the woodcutsof his uncle, Allen Seaby, who in turn had been strongly influenced by Japanese woodcuts.

My paintings and prints both have the same roots and starting point, in the field. Some ideas are more suited to the printmaking approach whilst others work better as paintings, or sometimes the same composition is used for both.

I was first introduced to Linocut at Eastbourne School of Art, where I was tutored by Robert Tavener. I always enjoyed the physical process of cutting into a block of lino or wood and I still do. Taverner used to edition his own work in the Art School studio and there were always his wet prints hanging up to dry in the racks suspended from the ceiling, so I guess he must have been an early influence. Later on at my second college, Maidstone, I was fortunate to have Graham Clarke as a tutor and after leaving college he would employ me from time to time printing his lino

Robert Greenhalf’s studio…

THE WOODCUT PROCESS Woodcut printing is the oldest form of printmaking. It’s a relief process in which knives and other tools are used to carve a design into the surface of a wooden block. The raised areas that remain after the block has been cut are inked and printed, while the recessed areas that are cut away do not retain ink, and will remain blank in the final print.

The wooden block is sawn along the grain and planed smooth. The block is then seasoned to reduce the moisture content in the wood, which prevents warping and cracking. The size of the woodblock is determined by the image, but is ultimately limited by the size of the printing press. This means that for a large-scale print, multiple blocks are cut and printed separately, after which the image is assembled. Smaller blocks are less likely to crack due to age or the pressure placed upon them during the printing process. The thickness of the block is also important for ease of use and the prevention of wear; the ideal thickness is around one inch.block

After the woodblock has been prepared, the design can be drawn directly onto the surface of the block or a sketch can be traced on to it. The the actual wood cutting can commence.

The block is then inked evenly and placed on the bed of a press and a sheet of dampened paper is placed onto the inked surface of the block. Printmakers can use either a platen press or a roller press. Although some early relief prints appear to have been produced by simply pressing the paper against the block with one's hand, the use of a press is preferable for the consistent distribution of ink Once printed the, woodcut's design appears in reverse of the original on the block

Flushed Snipe Edition of 100 Image size: 39cm x 16cm

Autumn Reeds Edition of 100 Image size: 39cm x 16cm

Barn Owl Edition of 100 Image size: 39cm x 16cm

Bittern Edition of 100 Image size: 28cm x 28cm

Black Winged Stilts Edition of 100 Image size: 39cm x 16cm

Blackbirds and Rosehips Edition of 100 Image size: 39cm x 16cm

Bullfinches and Woodpigeons

Brents and Common Gulls

Edition of 100 Image size: 28cm x 28cm

Edition of 100 Image size: 28cm x 24cm

Common Gulls and Avocets Cirl Buntings Edition of 100 Image size: 38cm x 17cm

Edition of 100 Image size: 28cm x 24cm

Common Terns Edition of 100 Image size: 28cm x 24cm

Five Lapwings Edition of 100 Image size: 38cm x 17cm

Flamingoes and Pintails

Goldfinches and Evening Primroses

Edition of 100 Image size: 28cm x 28cm

Edition of 100 Image size: 40cm x 17cm

Four Avocets Edition of 100 Image size: 28cm x 24cm

Garganey

Great Spotted Woodpecker

Edition of 100 Image size: 28cm x 28cm

Edition of 100 Image size: 40cm x 17cm

Great Tits Edition of 100 Image size: 28cm x 28cm

Greenshanks Edition of 100 Image size: 28cm x 28cm

Great Tits Edition of 100 Image size: 40cm x 16cm

High Tide Edition of 100 Image size: 40cm x 16cm

Hares and Rooks11

Hare and Woodpigeons

Edition of 100 Image size: 28cm x 24cm

Edition of 100 Image size: 38cm x 16cm

Little Terns Edition of 100 Image size: 54cm x 54cm

Oystercatchers, Evening Nuthatches Edition of 100 Image size: 17cm x 39cm

Edition of 100 Image size: 29cm x 24cm

Pintails Edition of 100 Image size: 28m x 28cm

Preening Avocets

Redshanks and Reeds

Edition of 100 Image size: 28cm x 28cm

Edition of 100 Image size: 40cm x 17cm

Whooper Swans and Pochards

Winter Thrushes

Edition of 100 Image size: 28cm x 24cm

Edition of 100 Image size: 39cm x 16cm

Wigeon Edition of 100 Image size: 29cm x 24cm

Redwings Edition of 100 Image size: 39cm x 17cm

Shovelers

Wheatear and Swifts

Edition of 100 Image size: 28cm x 28cm

Edition of 100 Image size: 40m x 17cm

Tim Southall Painter, Printmaker Since I wrote the piece about lockdown in the early days of the pandemic, I have accepted that things are different now. In the brief hiatus over the summer, I was able to spend a month in the print studio in the UK making new silkscreen prints. I didn't realise it at the time, but this was the high point of year. It is great living in the paradise that is my rural home on the Costa de la Luz, and I know how lucky I am to live in such a special place. However, I have been used to balancing this with intense working trips to the UK where I am hurled into a gritty city life. This I miss hugely. Regarding the pandemic affect on mental health at times I have felt like I am going mad - even with lots of land to roam around and local beaches to visit. Very thankfully I have had substantially more direct sales, with people increasingly buying online from my website. This has been time consuming and slowed down my creative output - but at the same time this increased busyness has kept me grounded.

THE ETCHING PROCESS Etching is intaglio, a ‘beneath the surface’ process in which lines or areas are incised into a metal plate using acid. The plate can be made of iron, copper or zinc. The word ‘etch’ comes from the Dutch word meaning to eat, or bite. The process is basically a tightly controlled process of erosion.

To prepare the plate for etching, it is first polished to remove all scratches and imperfections from the surface. When the surface is completely smooth, it is covered evenly with a layer of acid-resistant varnish or wax, which is called the ground. Using a sharp tool the printmaker scratches the ground exposing the metal beneath.

After the drawing has been made into the ground the plate is dipped in acid. The acid eats only into the exposed areas causing deep marks, or grooves, in the surface. The longer exposure to the acid, the wider and deeper the marks will be and this will determine how much ink is held. The deeper the etch, the more ink it holds so the darker the printed line. If the artist requires lighter areas, these can be protected from further acid bite by covering them with more ground.

‘Circle of Life’ by Tim Southall, copper plate, etched and inked, ready for printing.

If the artist requires lighter areas, these can be protected from further acid bite by covering them with more ground. Once the plate has been satisfactorily bitten by the acid, the artist removes the ground with a solvent. Ink is applied across the the plate and then cleaned to remove most of the excess ink from the surface. The plate is further cleaned leaving ink in the incised, etched, lines.

Depending on how thoroughly the plate is cleaned, tonal areas can be left on the surface.

Once the plate inked and cleaned it is placed on the printing press. Paper used in etching is usually a heavy watercolour and is dampened to allow it to be pressed into the incised plate. Tim Southall uses Somerset Velvet, an off-white heavyweight 300 gsm handmade paper from St Cuthbert's Mill in Somerset.

Once printed onto its paper support, the etching's design appears in reverse of the original on the plate. The pressure of the press not only forces the ink onto the damp paper, but also produces an outline of the outer edges of the metal plate in the paper, known as a plate mark.

‘Circle of Life’ print by Tim Southall. The print is a reverse image of the etched plate

A Tale of London Etching and aquatint Edition of 100 Image size: 30cm x 30cm

The Circle of Life Etching and aquatint Edition of 100 Image size: 40x 30cm

Feast Etching and aquatint Edition of 100 Image size: 10cm x 7.5cm

Winter Kings Etching and aquatint Edition of 75 Image size: 15cm x 10cm

Guinea Fowl Etching and aquatint Edition of 75 Image size: 10cm x 8cm

A Walk in the Snow

Everybody Loves Snow

Sugarlift aquatint Edition of 75 Image size: 30cm x 20cm

Etching and aquatint Edition of 75 Image size: 30cm x 20cm

Swallows over the Abbey

Mistlethrush Song

Etching and aquatint Edition of 75 Image size: 15cm x 10cm

Etching and aquatint Edition of 75 Image size: 15cm x 10cm

Prowling Cats

Dogs on a Beach

Etching and aquatint Edition of 75 Image size: 20cm x 15cm

Etching and aquatint Edition of 75 Image size: 15cm x 10cm

Leaping Hound

Mad Dogs

Etching and aquatint Edition of 75 Image size: 20m x 15cm

Etching and aquatint Edition of 75 Image size: 30cm x 20cm

Hissing Goose Etching and aquatint Edition of 75 Image size: 30cm x 20cm

Deer in Winter Etching and aquatint Edition of 75 Image size: 30cm x 20cm

Stepping Stones

Man and Dog

Etching and aquatint Edition of 75 Image size: 20cm x 15cm

Etching and aquatint Edition of 75 Image size: 15cm x 10cm

White Horses Sugarlift aquatint Edition of 75 Image size: 30cm x 20cm

The Rivals

Strolling Hounds

Etching and aquatint Edition of 75 Image size: 15cm x 10cm

Etching and aquatint Edition of 75 Image size: 20cm x 15cm

Deer in the Forest

Crows over a Canal

Silkscreen print Edition of 15 Image size: 20cm x 15cm

Silkscreen print Edition of 25 Image size: 20cm x 15cm

Winter Fox

Silkscreen print Edition of 50 mage size: 60cm x 40cm

Winter Woods

Silkscreen print Edition of 75 Image size: 60cm x 40cm

Snow on the Hill

Silkscreen print Edition of 50 Image size: 60cm x 40cm

Winter Woods

Silkscreen print Edition of 50 Image size: 60cm x 40cm

Out with the Dogs

Silkscreen print Edition of 50 Image size: 60cm x 40cm

The Seafarer

Silkscreen print Edition of 50 Image size: 60cm x 40cm

Birds on a Beach Silkscreen print Edition of 15 Image size: 40cm x 30cm

Skimming Stones

Silkscreen print Edition of 50 Image size: 64cm x 46cm

Goose Patrol

Silkscreen print Edition of 50 Image size: 64cm x 46cm

Sea Eagle

Silkscreen print Edition of 50 Image size: 64cm x 46cm

The Cormorant

Silkscreen print

Edition of 50 Image size: 60cm x 40cm

Tree Fall

Silkscreen print

Edition of 6 Image size: 60cm x 40cm

We are pleased to be able to offer our customers the Arts Council Own Art scheme. Own Art is a national initiative that makes buying contemporary art and craft affordable by letting you spread the cost of your purchase over 10 months with an interest free loan of up to £2500. The loan can go towards the payment of a piece of art that costs between £100 and £2500 with Own Art .

Making an Own Art application is straightforward and takes about 10 minutes in the gallery or more conveniently it can be carried out online in the privacy of your own home. The loan can be used in full or pat payment for a work of art and no deposit is required.

The gallery is open six days a week, from Tuesday until Saturday from 10.00 until 5.00 and on Sundays from 11.00 For more information about the gallery, exhibitions and artists news, sign up to our mailing list at www.gallerytop.co.uk If you would like more information about any of the prints in this exhibition, please call us on 01629 735580 or email info@gallerytop.co.uk All the prints with dimensions and prices are on our website at gallerytop.co.uk

until 4.00.

gallerytop, Chatsworth Road, Rowsley, Matlock, DE4 2EH 01629 735580 info@gallerytop.co.uk