Artist Catherine Mc Cue Boes

 Mokulito  .  State Prints Having completed a set of prints, two plate mokulito, I decided to review the state prints, single plate mokulito. Influenced by traditional Japanese art, particularly woodblock printing, I introduced gold leaf and acrylic paints to the printed mokulito. The result was pleasing and emphasised the grey printed background, which is common in wood lithograph.

Mokulito  Title: “Girl in Red Hat” As with my previous endeavours, I commenced the process of sanding the plate. However, this time, I opted to omit the use of milk. To preserve the white of the paper, I carefully removed certain sections. Subsequently, I meticulously combined five drops of nitric acid with gum, applying this mixture to the plate. After allowing it to dry, I applied a second coat. Three weeks later, I successfully printed fifteen images, comprising both black and white lithographs , as well as those featuring chine collie. Notably, some of the images will undergo hand-colouring once dry. The prints exhibited satisfactory results, with a pleasing plate tone and an abundance of wood lines. Following printing, I proceeded to roll the plate in ink, allowing it to dry for a brief period, approximately a day. Subsequently, I coated the plate with just gum and left it to dry for about a week. While this duration is not strictly necessary, a complete drying within 24...

MOKULITO 4 Norma with Red Bird The latest work, employing plywood, has been printed successfully. I utilised chine collie on some of the images, while others will be hand-coloured. The plate was covered in gum for an extended period of four weeks, without any adverse effects. Using the transfer blue paper, the image was initially drawn from a life model, photograph, and subsequently reworked using computer software. The image was then printed directly onto the blue litho transfer paper using a large-format printer. Subsequently, the image was placed on the plywood and run through the etching press, applying firm pressure to transfer the image to the plate. Alternatively, I could have worked on the blue paper with litho pencils, crayons, and ink, then simply transfer to the plate, coat with gum, and leave for a few days. However, I prefer drawing directly on the plywood as I derive pleasure from the process and enjoy cutting out areas to produce pure white. Upon completing the printing,...

MOKULITO 3 Another two-plate wood lithograph has been created. This image underwent processing solely using gum, which was left to dry for three days. The outcomes were significantly superior to the initial image, which was etched using a gum acid mixture on a pre-milked, sanded board. An additional aspect of this process involved cutting out sections of the plywood to create white areas, which I found aesthetically pleasing. The commencement of the new year has been marked by an engaging period of experimentation with wood lithography techniques. The initial works are inspired by the Girls Own series, which commenced in 2018. The first image produced utilising Mokulito is an homage to Harriet, an abolitionist campaigner, and Clara, who is credited with establishing the Red Cross association. Both works employ Luna wood, comprising two plates each, and chine collie. Initially, some prints were produced as single-plate editions, while others were printed as two-plate colour runs. The to...

MOKULITO  In the studio, I have been diligently working on a project that has been on hold for some time. I am pleased to have finally found the time to begin. I am currently working on plywood to add a colour plate to my wood  lithography. The process has proven to be quite fascinating, and I intend to continue researching and discussing my findings on website . .  

Mokulito  It  appears to be an unconventional method of commencing, but wood lithography or mokulito offers a remarkable alternative to stone lithography. Essentially, it operates in the same manner, albeit without the necessity of substantial stone and specialised printing presses. While it is feasible to print without using a press, this particular series of work will employ an etching press. To begin this project, select images from my brief two-minute sketches. These sketches use different life models and aren’t intended to be completed works. I was looking for bold lines and simple compositions, and I didn’t want to invest too much time in them, as it’s the mokulito process, that iam interested in. I started  this project by selecting images from my sketches. These are concise two-minute sketches featuring various life models and are not intended to be completed works.   

MOKULITO  As a printmaker, I find it challenging to accept that the sole viable approach is to adhere to traditional methods and techniques exclusively for print production. While endeavouring to sustain my artistic endeavours, I ventured into the realm of digital and large-format printing. Securing a living through my art proved unfeasible, necessitating the production of archival prints for photographers and artists to support my income. In my fascination with the potential of merging traditional printmaking with digital techniques, I embarked on a research journey. As a university student, I was introduced to photography, which captivated me. However, it was not until later in my career that I connected printmaking with the possibility of combining the two to create hybrid prints. Located approximately 130 kilometres from Eronmanga, southwest Queensland, lies a gas plant. During my tenure as an artist in residence, I was granted the freedom to explore the surrounding landscape. ...

Hybrid printmaking In the midst of a full-house renovation, my schedule has been severely curtailed, leaving me with only one day a week dedicated to studio work. Despite this, I have managed to continue working on some ideas for new hybrid prints and drawings. The ongoing COVID-19 pandemic has cast a shadow over our lives, and it has been a challenging two years. The constant discussions surrounding the virus have made it difficult to escape its influence. It is undeniable that this pandemic has had a profound impact on our lives, and it is time to reflect on the significance of freedom of movement and travel. I share the sentiments of many others who have family members currently in lockdown. Unfortunately, I am unable to visit or provide assistance to them. The isolation and restrictions imposed are undoubtedly difficult, but they are crucial in controlling the ever-evolving nature of this virus. Returning to work, I am currently focussing on digital prints, which reflect my current...