Printmaking: Tidal Barrier, River Hull

Printmaking: Tidal Barrier, River Hull

Tidal Barrier, River Hull, water colour monoprint and dry point etching

Introduction

My recent walks around the River Hull area have led me to really appreciate the different types of architecture along its banks. A view which struck my imagination was the sight of the Tidal Barrier with the iconic buildings of The Deep appearing between its huge columns. The tide was out and in the foreground was a mass of muddy river bed, with grasses and other plants springing up from the river banks. Old wooden staging completed the view and made the link with Hull's rich shipping heritage. I came back and considered the best way to portray what I had seen.

Process

I decided that due to the precise, sharp angles of the modern structures a dry point etching would suit the subject matter. However, I felt that it needed something more to express the soft forms of the natural objects along the river bed and surrounding banks. I concluded that it would be best to  combine techniques to achieve the effect I was looking for. I set about creating a watercolour monoprint which would sit beneath the dry point etching.

Tidal Barrier monoprint set up

I got a piece of perspex the same size as the dry point etching and painted the tidal barrier scene using the method I have described previously for this technique. The set up can be seen illustrated above.

I then continued the process by wetting the paper and printing the monoprint by hand using a spoon on the reverse. The water colour monoprint which resulted is shown below.

Tidal Barrier, watercolour monoprint

As can be seen, the outcome of this process is a lovely, soft effect, ideal for organic forms and for adding colour to a dry point print.

I had previously created the dry point etching and printed a copy to check the results (see below). The print was clear and precise, as I had intended. The water colour monoprint would be ideal to shine through in the background.

Tidal Barrier, dry point etching

I have now learned that when using this method, it is a good idea to ink up the dry point etching plate prior to the creation of the monoprint. In this way I can immediately proceed to overprint the monoprint with the dry point etching whilst the paper is still wet.

Conclusions

I think that the choice of process was a good one as it allowed a "twin track" approach to the topic which included both hard landscape and soft organic forms. The monoprint process meant that I was able to express the local colour and textures of the foreground, whilst at the same time capturing the modernism of the architectural subjects behind. The delicate watercolour process and choice of colours enhanced the scene without overpowering the image.

Tidal Barrier, River Hull, monoprint and dry point etching, final print.