Showing posts with label self initiated work. Show all posts
Showing posts with label self initiated work. Show all posts

Friday, 14 June 2019

Eighteenth Century Work in London: A Guide




Until recently these characters were little more than doodles in an old sketchbook I had.  Upon their rediscovery, I decided to give them a bit of a makeover and let them see the light of day.

And here are the results!






From 5pm on Sunday 16th of June 2019 all of these items will be available to purchase as postcards, prints and concertina books.

Visit joannarobsonillustration.bigcartel.com to see the full collection.










Monday, 5 February 2018

The Ambassador's Ball

New artists' book ready to be editioned!  


Twenty copies of The Ambassador's Ball are being created and will be available to purchase through my online shop.  


Inspired by a real event, this lasercut concertina book illustrates how I imagine the Spring Festival on 24th April 1935 at the US embassy in Moscow might have unfolded.  

And why choose this particular event?  The level of chaos at this party would not have been out of place in a Marx Brothers film: in a bid to impress their Soviet hosts, the US embassy staff threw an outlandish party, a party that aimed to surpass any other embassy party in Moscow's history.  Guests arrived to discover that the neo-classical embassy of Spaso House had been transformed: decorations included birch trees in the chandelier room; an orchestra from Prague; flowers from Helsinki; a sword dancer from Tblisi; and numerous live animals including over one hundred finches, pheasants, roosters, goats and a baby bear.

Spaso House, Residence of the U.S. Ambassador in Moscow
The animals caused an uproar – the unhousebroken bear was introduced to champagne and ruined a Soviet general’s uniform, while hundreds of finches escaped their aviary and flew noisily about the high ceilinged rooms during the party and for some days after.

One of the guests at the party was the Russian writer Mikhail Bulgakov.  The fantastic and surreal imagery of this party was not lost on him, ensuring that the legacy of the party was to live on beyond that night.  Bulgakov went on to use the party as inspiration for a famous scene in his novel The Master and Margarita.  Satan’s Ball (or the Spring Ball of the Full Moon) in Bulgakov’s novel features a number of barely disguised parallels with the Spring Festival of 1935.

Something about the chaos of this event against the backdrop of such an elegant neo-classical building caught my imagination last summer, and I set to work.

The finished book is a panorama of lasercut scenes against a white embossed background.  References to The Master and Margarita are dotted throughout the book, including one giant black cat and an embossed cascade of playing cards hidden in the building's ceiling.  

Below are some of my favourite photos of the book as well as a quote from one of the party's organisers...
















I'm currently taking orders for copies of The Ambassador's Ball, so if you'd like to purchase one, please contact me through my online shop in the tab at the top.  Each copy of The Ambassador's Ball is £350 plus p&p.

Alternatively if you're based in or around Edinburgh, you can come and have a look at a copy for yourself at my table at the Fruitmarket's Artists' BookMarket on the weekend of the 17th and 18th of February.  (For more information please visit www.fruitmarket.co.uk/event/artists-bookmarket. )

Thanks for looking!

Friday, 26 February 2016

The making of Nylmah

For all those wondering about how a laser cutter works, here's a short video by Sugar Fly Films about the making of Nylmah...


Monday, 28 July 2014

Work in progress - part two


Two months ago, I posted up some line drawing etchings in to hardground on this blog and mentioned that the plate was going to be aquatinted.  Aquatint is done by covering the plate in tiny, acryllic droplets and then using a stopping out fluid on areas of the plate to mask them before etching the plate in the acid bath.  The areas under the stop out remain unetched, while the remainder of the plate will produce darker tones when it's printed, as the acid will have eaten in to plate enough to hold more ink.  The process is long and labour intensive, but I wanted more practice at aquatinting for another project I have in mind.

The zinc plate required two applications of aquatint, fourteen hours of burnishing and nine states before it got to the stage where I was happy with it!

1st state - original line drawing
2nd state - after first aquatinting
7th state - after second application of aquatint  
9th and final state!

Two small editions have been produced from this image, but I'll post more details about them later this week.