Clement McAleer ( 1949-)

McAleer is a successful painter. Looking at his output there are coastal scenes reflecting home; a railway series indicating restlessness, and literary allusions to John Clare and  James Joyce.

Sea and Blossom

viewed in http://clementmcaleer.com/images/Seascapes.html accessed 31/12/14

The sea and blossom painting is in a state of flux. It is very painterly. There is a confusion of brushmarks and colour painted on a very large scale. I would love to see this in person. I read about mimesisin Art and Illusion by E.H. Gombrich. In this book, Gombrich explains about the mind's desire to make order and sense out of an image towards reading the image as a representing a realistic copy of the real world. The "imitative faculty" of the human mind  means that the scantest of information can work upon the viewer's imagination to supply the want of information and detail according to their own aesthetic awareness. For me, I can imagine looking over whins, or a flower clusters towards a darkened sea and a distant horizon and landmass. Some flower petals are caught in a refreshing breeze and the feeling of being there is captured.

Asylum

viewed in http://clementmcaleer.com/images/john%20clare%20series/asylum.html  accessed 31/12/14

Asylum from the John Clare series shows are large window pointing towards the sky and distant tree tops. An un earthly light projects the window and freedom onto a murky and bare interior. The heavenly light reveals earthly squalor. The symmetrical shape created resembles and hour glass that signifies time measured towards judgement day. Or would to a Catholic mind. The brush marks are smeared, scraped applied and removed creating a textural mess. The mess is appropriate to the disorder of a troubled mind. The indecisiveness of applying and removing contrasts neatly with the definitive hard and clean edges of the window frame and its projection that are mathematically precise. The tiny bit of organic foliage and billowy clouds read like the promised land from a man made desert of concrete and brick. The projected light is divine. To misquote another trouble poet and artist William Blake; All of heaven in a rage to see an artist in a cage. The series documents John Clare's escape from an asylum and his journeys home. I like the use of literature as inspiration for art.

The City

viewed in http://clementmcaleer.com/images/Ulysses%20Series/the%20city.html accessed 31/12/14

The city from Ulyses series inspired by James Joyce. It is clearly an aerial, bird or God's eye view of a city. It places the viewer as all seeing but removed far enough to be detached and the city appears as an abstract composed with complementary

greens and pinks. The individuality is lost and the city with all the lives seems as a single organism. A hive or ant nest of humanity. The river splits the canvass unevenly across the middle and is compositionally pleasing. There are curved routes to offset the largely rectangular and grid-likestructure. At a greater distance it resemble colonisation like bacteria or an agar gel plate. Stephen Hawkin's refers to humanity as a thin film of scum on the surface of the planet, and the great achievements of humanity are given the appropriate place in the grandeur of the Universe and its colossal chronology.

Willie Doherty (1959-)

 http://www.nordenhake.com/php/exhibition.php?id=63

 I pursued this link knowing that the derelict buildings Willie Doherty portrays in his photography could have a greater significance, a political dimension, not merely sampling industrial/ urban landscapes but provoking discussion and commentary on the legacy of "the troubles" in Northern Ireland. Michael Archer speculates generally on the function of photography in "Art since 1960" page 114. He writes: "photography itself was considered to be important in analysing social reality... - it could be considered as an index of the real conditions of the world." p114

The social reality is of ghetto-style territories  where barbed wire is no longer a security measure but a delineation of ideology. Mesh marks boundaries around an industrial premises, but in Doherty's world can mark the boundaries of catholic and protestant loyalties, thoughts, values and opinions. Boarded windows keep the light out and maintains the darkness- a darkness of the gospel of intolerance and ignorance shared under a distorted and politicized Christian banner. I chose my industrial site because I read the rhythm of corrugated marks, the lyricisms of mesh, the parallel and converging lines like dynamics on a musical score. I realise that a political subtext can be read into shared features of mine and Doherty's landscape.

This picture is called apparatus. That word was in my Catholic childhood, reserved for gym equipment where you run around and get exercise. I can imagine either side of segregised sectarian supporters getting plenty exercise in the two and fro of violence. The lamp post cleverly divides the image in two halves. Two sides. The image has details in the form of bricks. Bricks can be apparatus or equipment in a battle. The dereliction can only show a piric victory at best. There will be casualties on both sides. The windows are blocked up and no light can enter in.

Barriers and defences. Closed and sealed off. Symbolic of fear and defensive attitude. We put up barriers. This is also from apparatus. The reference reminds me of the climbing frame that was the best gym lesson. Ironically the barriers are merely a challenge- and invite trespass rather than prevent it. This is the essence of bloody-mindedness and  stubborn belligerence. Thankfully, the Good Friday agreement has signalled the shift in mind set  that has led to a fragile and uneasy peace.

I like this image because of the cerulean blue,  iron oxide red palette. The robust verticals superimposed on rhythmic brick bonding design. The mesh provides fine line possibility- delicacy in the solidity of this form. I would not mind painting this for colour and textural reasons; not for any political subtext or sectarian agenda.

Victor Sloan

http://www.victorsloan.com/2010/05/return-to-works-walls-m-arket-street.html

 Victor Sloan is interested in documenting the reality of his life. He eschews sensationalism. For instance the media descends to record the conflict during sectarian marching season. Sloan waits until the sensationalism is gone to witness the day to day reality, the aftermath and mundane trials and tribulations that continue and the evidence that remains etched in the fabric of the landscape. I see how his distressing the negatives and prints of his already distressing images personalises the image. He is not merely a dispassionate observer but literally a hands on commentator on society. I can see how my tutor has cleverly introduced me to influences that provide the stepping stone into part 4 and 5 of my studies. And now

see how Clement McAleer will help me with Terry Frost coastal and townscape abstracts.

Sloan scratches his photographic negatives, or bleaches then, draws on them( and their prints) with gouache or toner. I can see how this strategy would work with transferring images. The distressing could happen before or after the transfer is made. Sloan also incorporates text and I can see that the careful selection of text can help convey the message through irony or sour sarcasm etc.In this way the viewer's own opinions of what is viewed can be influenced or the photographers or artists stance conveyed beyond that of  neutral observer.

Market Street

viewed in http://www.victorsloan.com/2010/05/return-to-works-walls-m-arket-street.html  accessed 31/12/14

The wall  series speaks of intractability. The inability to move on, forgive, adapt or change. It appears to be a metaphor for no surrender stances adopted by Cathiolic and Protestant sides. The alterations Sloan makes to his images are violent and destructive. They scar and permanently damages the work he has done. This act is symbolic also of the destructive nature of the troubles themselves.

Watching

viewed in http://www.victorsloan.com/2012/05/other-images.html accessed 31/12/14

The mark making sloan adds gives greater vitality to the image. People watching is generally passive and static. By altering the image greater energy is imparted and with it a sense of restlessness. The viewer may speculate upon what is being watched and why. The historical contention between Catholic and Protestant was ritually re-enacted on the football pitch between Celtic and Rangers football teams and I suspect the match is being watched by spectators who are themselves being monitored by the police. We are witnessing this reciprocity taking place and are ourselves watching.This is the narrative I have projected on to the image.

Family

viewed in http://www.victorsloan.com/2012/05/other-images.html accessed 31/12/14

We speak of a family tree. Here a family and tree occupy the same space. The space is confused by sloan's interventions on the image and so is difficult to read. It is as if the film is burned and destroyed. Metaphorically, this may represent the damage to the lineage of a family tree when lives are lost perhaps through sectarian conflict.It is easy to project this narrative due to Sloan's recurring themes in the body of his work.

Anselm Kiefer (1945)

https://www.royalacademy.org.uk/exhibition/anselm-kiefer

I have recently been reminded in parallel studies to this that it is important to expound upon why you are drawn to a subject or inspired by it. Anselm Keifer is clearly ruminating over a traumatic event by responding to Nazi atrocities. Michael Archer in Art Since 1960 provides a thumbnail sketch and overview of the artists imperatives

"Keifer examined critically the mythic and historical dimensions of the German sense of identity and Nationhood. More explicitly than most, he focussed on the period of Nazism and the Second World War." page 148With this in mind, it is possible to project greater meaning on the tranformatve function of fire and Keifer's predieliction for incorporating combustible elements in his work. Lead melts easily, straw burns quickly and the residues such as ash have multiple connotation. Straw is cut down and has a biblical significance for the life of mankind. Ash recalls biblically, man's origin created from clay and conveys our inevitable end " ashes to ashes... dust to dust". There are constant reminders of processes of transformation. Trees wood furniture fire ash trees. There is hope there for redemption in the ashes making fertile ground for Keifer's expressive intentions.

Father, Son and Holy Ghost

viewed in http://essentialsublimeabsurd.tumblr.com/post/23499580067/vater-sohn-heiliger-geist-father-son-holy accessed 1/1/15

 

Kiefer is a painter of the religious and spiritual. Of good and evil and right and wrong. The title states the intention for this to be read as a religious item/ relic or panel such as the religious iconography of the Middle Ages. This is my opinion and I argue that it show processing of raw material "wood" felled and processed into floorboards, chairs and the building of barrack like edifices. Many trees were processed to enable the war effort. The appearance is radically altered and in many ways I prefer the natural tree growing. I read this as an analogy of the processing of Jews. Cut down, processed, walked on, sat on and abused to facilitate thebuilding of the Nazi edifice.  Consider. for example. his powerful two-paneled work titled ‘‘Father, Son. Holy Ghost.’’  crudely built interior of an attic that looks much like the barracks of a concentration camp. The three chair represent the Holy Trinity or an unholy trinity of a new fanatical religion. Perhaps I have over stated my case but I know wood would fuel the furnaces of a holocaust.

 Osiris and Isis

viewed in http://imaginedlandscape.blogspot.co.uk/2010_11_01_archive.html  accessed 1/1/15

"Osiris and Isis" (1985-1987)  evoke Egyptian imagery. A vast powerful empire that has passed into history. A massive pyramid, like a hierarchy of power denoted the megalomania of a super-ego. The scale is to impress the enormity of the Nazi machine and to be in front of it is to feel the message rather than just think about its meaning. The colours are very subdued, sombre. oppressive and depressing as is its significance.

Paul Mosse

Untitled 2007

viewed in http://iarchitectures.com/amexhibition/gaeilge/images/img001%20copy.jpg accessed 1/1/15

Mosse's features ‘non-art’ materials such as lead shot, resin, broken glass, sawdust and glue.  His work also crosses the boundaries between 2-D and 3-D artwork by incorporating depth as an important compositional element. Michael Archer in Art Since 1960 comments upon Federico Guzman (b 1964) and his paintings that frequently extended out from a flat surface into the room containing them. I see a parallel in Mosse's work and I am taken by the phrase " the unresolvable relationship between representation and occupying a space." Archer page 152. Unresolvable in that painting is in essence a 2D activity that will always try but fail to recreate the signs reality "simulacra" (?) witnessed in a 3D world. I can see that artists would wish to experiment with the painted surface, as seen (painting) and experienced (sculptural reality in space with dimension and physical presence) and therefore explore boundaries in both genre. A notion explored in the work of Anne Truitt.

In my extended pieces for Part 3 I tried to incorporate artefacts from a site that I felt were symbolic of the memory and recollection of the place. I did not go far enough and compared with Mosse's more sculptural work mine's appears half hearted. This specific piece has a deliciously melted feel and since I am interested in the plastic world of consumerism, then this may be a useful strategy for leaving mimesis and entering abstraction. It is process based and part of what could be an endless series of untitled pieces generated by being faithful to a methology.

Helen Chadwick (1953-96)I listened to a podcast describing Helen Chadwick's viral landscapes and setting them in the context of her life.

http://www.liverpoolmuseums.org.uk/podcasts/viral_landscapes.aspx

accessed 2/1/15

Vanity, 1986

viewed in http://images.bridgemanart.com/api/1.0/image/150.BAL.8603910.7055475/189889.JPG accessed 2/1/15

 

She is classed as a feminist artist exploring identity. However, the backlash of criticism she received for using eroticised images of her own body, came from feminist sources who felt she had betrayed them. For instance in vanity, Chadwick's own naked body is photographed and reflected in a mirror and can be read as titillation.  Gill Saunders quotes Chadwick defending her stance in "The Nude a new perspective" page 122. "Progress has to be made through self-understanding, self-

awareness, but one of the taboos has been an exploration of one's own body."    Consequently, and to avoid further criticism, Chadwick began to explore the internal self even to the cellular level in a scientific way.

She believed the we are all energy and matter and her art instigate the visceral nature of this fleshhood.

Meat abstract

viewed in http://www.bridgemaneducation.com/ImageView.aspx?result=25&balid=485870 accessed 2/1/15

I had begun by pursuing Viral landscapes and ended up liking the forensic way Chadwick analyses her own art inspirations and methodology- even to the point of inventing her own. For instance the Piss flower sculptures from casts taken by urinating in the snow. Chadwick likes to use her body and its fluids and functions to provide  the media she will use in her work. There is a sense in her work that she deliberately juxtaposes opposites to bring both into greater relief. To attract and revile and to find beauty in ugliness in order to challenge notions of what constitutes beauty.

In viral landscape she superimposes her own bloodcells onto the landscape.There is a physical similarity between the contours of the body and the landscape that has been explored by artists before. The political landscape was that of AIDS and the HIV virus that was prevelant in the mind of society at the time.Chadwick is commenting on the human body as host to the virus and providing the environment for it to thrive. Environment is landscape. Chadwick died of a heart virus presumed picked up at a medical residency exploring cellurar inspiration after viral landscape. I think Chadwick's scientific interest and working practices provide a fertile bed for further study and I may return to her as a critical review in future studies. Certainly, the medical and forensic element to her thought processes can be directly linked as sources for artists such as Damien Hurst.

Henri Mattise ( 1869-1954)

Still Life with Pomegranates, 1947

viewed in http://www.bridgemaneducation.com/ImageView.aspx?result=0&balid=175278 accessed 4/1/15

Here Matisse is ix ploring design and pattern. I see the black suggesting interior to bring the green exterior into greater relief in terms of brightness. This green complements and brings into relief the complementary red. There is balance between flat field and decorative detail.

Spanish Still Life, 1910

viewed in http://www.bridgemaneducation.com/ImageView.aspx?result=17&balid=185384 accessed 4/1/15

Here Matisse is exploring design detail breaking up flat fields of local colour. The floral design merges with the actual flowers presented on the table. The feeling is Spanish and the simplified designs and overlapping placement, builds up a texture reminiscent of Moorish design influences typical of Alhambra ornamentation.

Pineapple and anemones, 1940

viewed in http://www.bridgemaneducation.com/ImageView.aspx?result=30&balid=220511 accessed 4/1/15

Matisse uses softer colours in this image. Colour influence mood and emotion. I feel relaxed viewing this painting. The yellow pink colours feel joyful. The simplified leaf forms fore shadow his later collage forms.

The Dance,1910 viewed in The Shock of the New page 138 accessed 8/1/15

 The pictures shows five figures dancing in a circle painted in flat expanses of local colour. The figures are naked and primitive in appearance. The nudity and freedom give a sense of liberation and joy. The figures local colour of red complements the green of the land and contrasts with the darkened blue of the sky. The theme, according to Hughes, is physical ecstasy and Matisse is believed to have based it on the Sardana dance that he show peasants and fishermen dancing in Colloire. The figures are simplified and stylised to the point of pattern. The forms are ancient archetypes as typical of Etruscan earthenware.

The Joy of Life, 1906  viewed in "Art Since 1900" page 95 /96 accessed 8/1/15

Matisse was a Fauve and in this piece is exploring colour and surface relationships according to the text of Art Since 1900. Certainly the vibrant colours particularly red and yellow clash together but art modulated by softer pinks and purples and complemented with green tones. The

figures were appropriated from numerous sources and several are cited in the book. The sources are stylistically different and there are allusions to cave painting and Ingres. There appears also to be a Sardana -like dance anticipating "The Dance" motif by some four years. The figure pairings are heavily outlined and strangely misshaped and deformed and, in the foreground, merged with two figures sharing one head.

The joy of life is art itself and Matisse is quoting from the whole history of it. He is aware that he is part of and indebted to the whole art tradition and this piece is a part of the discourse that leads to advancement to modernism in the 20th century.

The Dinner Table, 1908 viewed in "The Story of Art" page 572 accessed 8/1/15

Matisse typically simplifies forms by the editing of detail and the distortion of shape. The figure is flattened and curved to fit the curves of the foliage. The pattern of wallpaper is reflected in the tablecloth. Floral designs brings the outside landscape inside.The exterior world is viewed through the window but is also given the curvilinear treatment and becomes a design itself sharing the same fate as the furnishings. No distinction is made between inspiration and fabrication. The piece is called harmony in red by Matisse according to Gombrich's text. I cannot look upon red without it jangling uncomfortable. It is too harsh to my eyes and perhaps Matisse is being ironic. There are no pinks and enough oranges to mollify this assault of colour which would be more likely in the designs of Raoul Dufy. The simpflification of shapes, form and colour is too sophisticated and premeditated to invoke childi-like innocence sought by Surrealism in the pursuit of pure art through an innocent eye. This is far too contrived. I will have to address this. There is little red in my own art and perhaps it is a psychological disposition.

Richard Dibenkorn

Ocean Drive, No. 64

This is difficult to relate to since the reality of the landscape has been condensed down into colour blocks or fields. The colour fields makes me wish to combine Diebenkorn and Rothko. Their methods are similar. This glazes of colour, dilutedto the point they constitute a stain, making translucent layers where the substrate may still be viewed. Diebenkorn uses very soft  and meditative colours. Pencil and charcoal under drawing can be clearly seen and yet do not dominate the composition. It is straight line and geometric view of the organic with angles so precise they can be measured in degrees. In the text of Shock of the New, Hughes uses the words "quiet" and "terse" to describe this "voice". page 160. The artist is working in series and this is number 64. A series can be added to throughout an artistic lifetime, and without numbering, can be inserted into the sequence without detriment to the macrostructure of the whole. There is no prerogative in the serial mind set of working towards the masterpiece of an opus according to ___________ writing in Colpitt's "Abstract Art in the Late 20th Century". I find it difficult to reconcile the notion that there is variability in the quality of pieces in the Ocean Drive series that Hughes describes as;" one of the most dinstinguished meditations on the landscape since Monet's waterlilies." page 161

 

Untitled, 1952

viewed in http://4.bp.blogspot.com/-jkNV63O1hio/TVUU47-G-TI/AAAAAAAADAM/GVMo9IyrjU0/s1600/1952+Untitled.jpg accessed 10/1/15

Diebenkorn's Ocean Drive series is insipid to me.They lack the personality of this untitled piece. While I like the translucent , light-from-within feeling composes by successive overlaid glazes and stains; I appreciate the opaque solidity of the paint application here. I like the torn edge "collaged" appearance as being more organic and the greater variability within the colour fields as adding visual information. Perhaps it has greater depth.My paragraph reveals more about me than Diebenkorn's work. It speaks to me better on a personal level and has greater presence. The idea of presence neatly segue's into the rationale of Rothko's work.

Mark Rothko (1903-1970)

Untitled (Beach) c.1937

viewed in http://www.bridgemaneducation.com/ImageView.aspx?result=57&balid=401281 accessed 9/1/15

Rothko fore shadows his later work in this figurative piece. The rectangles of the sky and the tilted oblong of the wind break. There are identifiable elements that state a narrative that can be read. It is one narrative that is asserted to all viewers.

Multiform ,1948

viewed in http://www.bridgemaneducation.com/ImageView.aspx?result=56&balid=352149 accessed 9/1/15

Rothko's multiforms are a transitional stage to his later pieces. The colours interact within the frame of the canvass and tensions and resolutions exist between the colour portions.This, in my mind, relates to Matisse's discovery of quantity in colour. Larger fields of a colour has greater presence that a smaller quantity of the identical colour. The tensions exist between colours and the proportions in harmonious or dissonant relationships.

Untitled 1969

viewed in http://www.bridgemaneducation.com/ImageView.aspx?result=73&balid=620652 accessed 9/1/15

Rothko paints on a large scale to invite intimacy. This is counter intuitive. However, sitting in front of such a large image would fill the field of vision to the exclusion of all else with a field of colours. This creates an environment for a one-to-one interaction with the painting. Rothko sees the shapes within his paintings as offering a transcendental possibility. "Pictures are dramas, shapes performers and the act cannot be predetermined due to the individuality of the experience of individuals interacting with the work. There was a common assumption in American art of the 40's that paintings were the equivalent for an individual person. Organisms with volition and a passion for self-assertion. In this belief, the piece will literally talk or speak to the audience and each interaction would be unique.

Mark Joyce (1966)Hindu Kush, 2012

viewed in http://www.greenonredgallery.com/easyedit/pictures/Hindu%20Kush%208060%20Acrylic%20on%20Panel%202012.gif accessed 3/1/15

I Joyce's work I see a celebration of colour and the physical properties of paint. I selected this because I am currently thinking of using opaque mixed paint to create hard edge abstracts with masking tape. I can see how such a method will generate this result; especially congruent to my studies since this is rendered smoothly in acrylic. What I can read in Joyce's work is the simplicity of pure colour, often transparent straight from the tube. In this case, the interlocking or overlapping forms are physically mixed as opposed to optical colour mixing. They make upward facing peaks that suggest along with the title Hindu Kush, the tops of the Himalayas.

The Newtonins 8, (2009)

There is a lovely fusion of art and music in the Newtonian piece based on a study of the light spectrum refracted through a lens. The colours are stacked "chords" in a homophonic version of harmony and counterpoint. Light travels in straight lines and if read left to right the work fails in this scientific principle. However, if read top to bottom and visa versa the discrete colours can be seen ( imagined) to vibrate. Sound is energy and the energy of a vibrating

string, wire wound in a similar form, will generate a similar blur of movement which is also energy. The main colours of the spectrum ( think rainbow) are stronger more saturated chroma and seem to float above a bottom layer of softened more pastel values. This creates a sensation of depth.

This piece has a downward aspect and the feeling of scalloped overlapping shapes. Knowledge of the source of inspiration will not make me enjoy this painting any more. It sparks a strand of inspiration in my creative self. It reminds me of feathers. The same joy of colour persists and the soft pink on pale but cool blue works well for me; as does the textural element of brush marks and distressing. I think this notion of light, macro views, for instance electron spectroscopy and iridescence in feathers- could take me well into level 3 studies.I am delighted in being pointed in Mark Joyce's direction and the fusion of science and art, and the fundamental basis of light as the raison d'etre for art- really appeals to me.

Tomma Abts (1967)Zebe, 2010

viewed in http://www.tate.org.uk/art/images/work/T/T13/T13592_8.jpg accessed 2/1/15

First of all it is interesting to see work from a artist of my generation. This coincides with my study of hard edge abstracts using masking tape. The repeated form reminds me of the Op Art of Bridget Riley. The view is layered like looking down a well. The bottom layer of twin disks are overlaid with a striped

pattern following the directional plane shifts of a kite or diamond. The straight lines contrast efficiently with the curves below. The final lightest layer is a ribbon containing/ fusing both elements in a calligraphic mark resembling writing. Each layer/ element is rendered with clean defined edges and smooth graduated tonal finish. It is methodical and technical and is the product of careful planning. Additionally, it unifies previous studies where I had to combine acrylic and oil. This is a lovely example where past and present learning share a multiple dividend in my OCA studies past and present.

Veeke, 2005

viewed in http://www.bridgemaneducation.com/ImageView.aspx?result=1&balid=470306 accessed 2/1/15

The hard edge clean line and graduated tones are continued in later work. The illusion of interlocking forms casting a shadow on lower levels is a trompe L'oile. The graduations of colour and tone suggest to me that the acrylic layer has been spray painted that guarantees the smooth finish. Airbrush artists, ( I acknowledge an interest in this area) use stencils of tape and paper masks and cut through frisk film to create discrete shapes. A similar technique is used by watercolour artists using packing tape and the famous Bob Ross used contact paper masks for vignettes. This piece is emotional detached from my. I cannot project a narrative, or admire the artists handling of brush and medium. I feel alienated but at least I feel something.

Nuala Gregory 

When I look at the work of Nuala Gregory I feel out of my depth and unable to speculate upon how the work would be produced- something I pride myself on. I see simple, pastel colours applied in watercolour, ink or gouache effects. The compositions are economic and are clearly the product of meticulous planning and rigorous technical assurance. The results are delicate and feminine.

Painting is definitely not dead and Gregory is keen to spread the message by practising and teaching. Progress may involve the post modernist idea of appropriation from the past and her research and investigations have resulted in perfecting ancient practises such as Fei bai, stone lithography, and chine-colle. These names are foreign to me and I think I must familiarise myself with these techniques to gain more than a superficial understanding of her work.

Fei bai (White flag) Chinese calligraphy

https://www.youtube.com/watch?v=zTm1ZUI0g1M  accessed 2/1/15

I can see half wet half dry brush marks that reveal the striations of individual brush hairs.

Chine colle ( paper glued)

https://www.youtube.com/watch?v=prgXtKDGwd0 accessed 2/1/15

I see chine-colle as a species of Intaglio print making. I found some helpful guidance on this and lithography in the Artists' Handbook of Materials and Techniques by R Smith page 246.

The same book was similarly helpful with lithography.

This area is so specialised and so resource specific I will no be engaging in it soon. The Highland Print Studio in Inverness may afford me a workshop some day in the future.