The riso­graph lives again (after a fash­ion)

About five years ago I did two riso­graph prints, one based on Diana Wynne Jones’ Fire and Hemlock, and the other on Eurip­ides’ Bacchae. Each print was an edition of 50, and I sold all of them a long a time ago (except for a couple of copies I kept for myself). Now I have a giclée print­er though, I have resur­rec­ted them as a new edition. This time they’re prin­ted on Canson Infin­ity rag museum paper, which is an acid free and archiv­al water­col­our paper for fine art digit­al print­ing.

If it ain’t brack­en, don’t fix it.

I refuse to apolo­gise for that pun, you’ll just have to suffer. Here is a photo I took of myself recently in my dad’s garden. I can’t remem­ber the last time I had a new photo of myself bar a few awkward phone snaps when I’ve been out. Perhaps you could say I was commun­ing with nature when I took this photo, but I was sat on a plastic bag to avoid sitting in anything nasty hidden under­neath the plants, so I don’t think I was that in touch with nature. Luck­ily we don’t have pois­on ivy or danger­ous snakes in this coun­try, I was more worried about the milder perils of sting­ing nettles or fox drop­pings. I was also a little limited with angles and fram­ing, because stick­ing a wide-angle lens in your face is rarely flat­ter­ing, but I couldn’t get the distance to use my portrait lens because I didn’t have a tripod with me.

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