A Journey Through Perspective, Experimentation, and Printmaking
First Encounters: Sketching Lewes Castle
My relationship with Lewes Castle began with sketches across the seasons. I examined its location on the mound and its relationship with the trees, the grounds, and the sky.
Perspective Challenges: To accurately capture the geometry of the castle, I initially attempted a two-point perspective. I then constructed a lightbox and a light frame, allowing me to place and trace images against the front window. Additionally, I used a longboard to create perspective lines extending far from the picture.
I deliberately distorted the view to evoke drama, embracing a more imagined, fisheye-like curvature and exaggerating the tower’s prominence. I even experimented with AI-assisted geometry to create a hexagonal stone tower, which helped me visualise how exaggerated distortion could function.
Referencing Other Printmakers
Before cutting into lino, I looked into printmakers’ past and present work, studying figures such as Jean Moro, Matisse, Lawrence Weiner, and Eric Ravilious.
- I explored line weight and carving techniques to suggest texture.
- I managed skies—from stark simplicity to elaborate swirling motion. Helen Brown inspires my contoured chatter.
- I balanced solid areas of ink with carved negative space.
Influence on My Work: I aimed for a bold, dynamic sky, a sense of weight in the castle, and energy in the composition.
Aga Kubish, Helen Brown, Michelle Hockey, Tadeo Beutlich, Catherine Cartwright, Kelli MacConnell, Rosamund Fowler, Hugh Ribbans, Vicky Gomez, Roger Dean, Otto Dix, Henry Matisse, David Hockney, Mel Calman, Lawrence Weiner, Carolyn Trant, Frank Brangwyn, John Craxton, Eric Ravillous, Thomas Bewick, Angela Harding, Barthelemy Toguo, Picasso.
Compositional Mock-ups and Playful Experiments
Before carving, I tested layouts using Adobe Express, experimenting with:
- Sky compositions—straight lines, curved distortions, radiating patterns.
- Tree placement—how much foreground weight felt appropriate.
- Frame size tests—how different mounts and frames affected the final feel.
The Wild Experiments:
- A silver sky—ethereal but ultimately too overpowering.
- A silver castle—intriguing, yet it lost the stone texture.
- An aquarium version—mound, castle, and trees submerged like a ceramic ornament.
Carving and Testing the Print
Moving from digital to physical:
- First test prints: Adjusting line depth and checking ink coverage.
- Chin collée elements: Deciding where to add layers of subtle colour.
- Final refinements:
- How much to ink the sky versus leaving open space.
- Balancing sharp, architectural lines with softer organic textures.
- Printing on Fabriano Artistico paper for optimal texture and ink absorption.
The Finished Print and Reflection
After six or seven weeks of iterations, experiments, and adjustments, I settled on this 1/12 edition.
What I’ve Learned:
- The balance between precision and playfulness—allowing space for surprise.
- The unexpected joy of experiments, even if they don’t make the final cut.
- The importance of studying other artists’ work to advance my style.
Close up you can see the texture that comes from the use of coloured papers.
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