fine art – Page 7 – Clive Ramage Art

The Lights That Never Go Out – A Map of Scotland’s Lighthouses

Here’s a map of all the Scottish lighthouses that I found at Ardnamurchan Point. There’s a lot of them! Almost 100 and pretty much all built by the Stevenson family within 100 years from the first (the Bell Rock) which was finished in 1810. I hope to get to as many as possible over the next few months as part of my project, The Lights That Never Go Out, An Artistic Odyssey From Muckle Flugga To The Mull of Galloway.

So after a day spent washing clothes and repacking the campervan after the Easter trip to the west coast, I’m off again to spend the next few days and nights sketching and photographing the lighthouses between Montrose and Fraserburgh. Tonight I’m hoping for a clear and starry sky (ie. no fog horn!) spent at the foot of Rattray Head.

Super Moon in 4 stages … #eclipse

Since there’s going to be a total eclipse AND a ‘super moon’ tomorrow, I thought I’d try and finish the print I’ve been working on all week, as it is kind of appropriate. When I started it last week I didn’t know about all the celestial events coming up.

It’s an aquatint and spit bite print from a copper plate and is my largest to date at 48x58cm. I found an old photo I took from the Fourth Bridge a few years ago and thought it would make a nice change to do something completely different. I enjoyed making it so now I might do a whole series of planets, moons etc. Watch this space!

Anyway, for those who always like to ask how long it takes to produce a particular work of art, I can tell you that each of the 4 stages of development took a full day (about 8+ hours). To run off the final print takes roughly an hour on average, as it’s a large one at 48x58cm and there’s a lot of ink to put on then wipe off each time before running the plate through the press.

Don’t forget your special eclipse specs for tomorrow!

Frames Gallery Exhibition of Dunfermline Printmakers Workshop

St Monans Harbour (hand painted etching)

I am delighted to say we had a fantastic opening night at Frames Gallery, Perth on Friday night. Hugh and his team have done a fantastic job of putting our exhibition together and promoting it and the place was heaving with gallery regulars, our friends and families as a result. This doesn’t always happen with preview shows, so all that preparation was very much worthwhile and appreciated!

It was really great to see all of our combined efforts hung so beautifully together in one place for a change. Each of us is used to producing our work in each others’ company then sending it off to various galleries around the country, but we rarely get the chance to see it all hung as a collection. So this show was a great opportunity for us all to see how distinctive and individual our methods, ideas and output are. Yet the show works very well together as a whole and shows the quality and diversity of work being produced at our humble wee cooperative in Dunfermline. Looking round the exhibition, I felt proud to be involved in the workshop. Without wanting to sound like I’m blowing my own or anyone else’s trumpet, I reckon this exhibition is worthy of any gallery in the country.

So please do take some time out to visit Frames Gallery and have a look for yourself. The exhibition is on until 4th April. You wont be disappointed!

My page at Frames Gallery

Dunfermline Printmakers Exhibition Page at Frames Gallery

Frames Gallery on Facebook

More mini paintings on the way!

I’ve been working on a smaller scale these past few weeks, partly as a way into painting again after a long period of etching in monotone and also for an exhibition of small works at Morningside Gallery in Edinburgh. I’ve really loved working in watercolours again, which is how I started way back when.

Here’s the latest little picture I’ve just finished of Jeffrey Street from North Bridge, Edinburgh, which will be winging it’s way through to Edinburgh later this afternoon. This one has ended up in Marchmont Gallery along with a few other pieces. I went in on spec this afternoon and the manager, Karen, wouldn’t let me leave with it! Delighted to be represnted by another lovely gallery in Edinburgh!

Art cliches galore!

I love this article and hate an art cliche! If I ever describe my work here or anywhere else for that matter using any of these, then feel free to throttle me! See link below to read the Artnet article.

30 art/writing cliches to ditch in the New Year!

At the banquet (or not)!

I wish it wasn’t just my paintings and prints that will be attending tonight’s wonderful looking banquet at the Abbot House. They’ll be adorning these fine medieval walls for the coming weeks, so drop by and have a gander if you’re in the vicinity. All are for sale just in case you’re still on the hunt for something with a very personal touch and created by my own not-so-fair hands!

The Banqueting Hall at Abbot House, Dunfermline

Open Studio again!

I’ve decided to throw open my medieval studio door again this weekend, but it’ll be on Sunday instead of Saturday. Hopefully that means a few more folk who couldn’t make it last time can do so this time round. So please come along between 11am and 4pm for a final chance to pick up a great bargain limited edition etching or painting before Christmas!!

New etchings of Edinburgh and Dunnotter Castle, plus a note on the ‘sugarlift’ technique

Here’s a couple of new prints I’ve just finished. Dunnotter Castle in particular is quite different from what I’ve been doing for the past couple of years, but I have loved the painterly method and the scratchy effects you get from using sugarlift, which is how I did this plate. Picasso invented this style of etching where you paint or use a fine nibbed pen to draw a suger solution onto the metal, then once it’s dry you cover the whole plate with straw hat varnish before pouring hot water over it. The water and the heat makes the sugar solution expand and burst through the varnish in the areas you painted, exposing the bare plate. The varnish elswhere on the plate protects it from the acid. You then clean the plate and add an aquatint (a fine spray of acrylic or resin-based dots which acts like a protective mesh screen) to it and begin the process of exposing it to the acid for the various tints. The tiny dots of aquatint again protect the metal beneath them allowing the acid to only etch the spaces in between, thus creating tone. I usually bathe the plate in 30 second dips for each tone, but it depends on the metal and the acid being used. It can be a wonderfully expressive technique and I’ve used it a few times now.

Edinburgh from Inverleith Park below is another sugarlift etching. I’m looking forward to experimenting with it some more in the coming months.

Edinburgh, Arthurs Seat, etching — Edinburgh from Inverleith Park, etching (35x15cm)

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