Rod Duncan

@rodduncan.bsky.social

Writer. Writing mentor. Printmaker. Photographer. Lecturer. Dyslexia. Aphantasia. ADHD. PhD. Shortlisted for the Philip K Dick Award & the John Creasey Dagger. He/him. No AI slop.

The whole ‘learning to cut mountboard’ thing came about because of this print - The Crow Catalogue. I've now, inexpertly, framed it up. I still have lots of learning to do. But the imperfections are the mark of my hand, so I'm not too displeased.

A framed relief print rests on a bookcase. The print shows 9 crows in different positions of flight,  arranged as a grid.

Learning to cut the 45 degree bevel on mountboard. I'm slowly slowly getting better at it. Happily, I have a bag of offcut mountboard pieces from Gadsby's to practice on.

Widescreen rectangle of purple-grey mountboard propped on a bookcase. Framed within it is a print of three figures in expressionist style. The 45 degree bevelled edges of the cut are neatly regular.

It's difficult to catch a moment with a novel, in those 3 minutes while my tea steeps. But with a handy pile of scrap paper on the kitchen table and a box of homemade willow charcoal to hand, I can make a mark or two. The results may not be much to write home about. But the process gives me joy.

The reverse, blank, side of a college worksheet lies on a table. On it rests a stub end of charcoal. Lines of text are dimly visible through the paper. Two charcoal lines have been made on the paper, giving the vague sense if swan.

I find it impossible to 'separate the art from the artist' when the artist is using the profits from their work to fund campaigns that persecute vulnerable minorities.

A very late birthday present has arrived for me. (Ordered in plenty of time but taking months to get here...) I'm really interested in the work of this artist, Sybil Andrews. I suspect the book may have been shipped from Canada.

A hand holds the book On The Curve- The Life and Art of Sybil Andrews. The cover is illustrated with on of the artist's prints. It shows a tractor ploughing and many seagulls.  The style is modernist, speaking to a early to mid 20th century aesthetic.

Delighted to have had my print The Lemon Counter accepted for the Sock Gallery Open Exhibition in Loughborough Town Hall. The exhibition opens 1st August and runs for a month.

Black and white relief print of a man holding a lemon with a pile of lemons behind him. The wall behind is patterned with rectangles of different sizes. The image is expressionist in style.

Took my camera and favourite lens to Beacon Hill yesterday, under clouds and with the tantalising feeling that it might rain for the first time in many weeks. Or it might not. The landscape tinderbox dry.

A fern frond, dried and browned to look like beaten copper. Only one part of it is in focus. In the background, milkily out of focus, other fronds are just visible. A few are green.

I framed up the print so I can leave it propped up in the hallway and catch glimpses of it unexpectedly from time to time. That's the only way I know how to decide if I like it. How do you try to achieve objectivity about the things you create? I'd love to know.

Two framed prints leaning against book shelves. The prints show stylised head and neck designs.  The nearest one highly abstract,  the other expressionist.

I think this is the final iteration of the design - for the time being. I've printed up two, with slightly different background variations. I'll need to frame one up and live with it for a few days before knowing if I like it. But that aside, I've learned a lot through the process. #Printmaking

Two prints hang from a line in a cluttered garage. Each shows a stylised head and neck. Something vaguely Easter Island about the design.  Also a roughly drawn circle, bottom right. The background of each shows angular patterns, which radiate from the circle.