Fearghal Hainsworth Art

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PRINTS

ETCHING AND AQUATINT

I love etching, particularly when combined with aquatint and watercolour washes. There’s something very refined about an etched line, but beyond just being an outlet for drawing I love the print process and its expressive range.

‘Africa State of Mind III’.
Aquatint etching with watercolour wash, 2024

Renaissance works, like those of Dürer, were my initial inspiration with etching, and looking at the way Goya blended tone through aquatint made me want to try that too. It adds alot of drama to an image, and I like the effect when combined with simple watercolour washes.

‘Minack Theatre VI’.
Aquatint etching with watercolour wash, 2024

‘Minack Theatre VII’.
Aquatint etching with watercolour wash, 2024

‘Fort Gwalior 25’.
Screenprint, 2023

SCREENPRINT

I’ve used screenprint as a way of exploring my love of Japanese Ukiyo-e prints without woodblock being available to me. Properly exploring woodblock and stone lithography is an ambition for the near future.

MONOTYPES

Monotype is great for it’s versatility, and unpredictable results.
I often combine it with washes, pastels, and sometimes gouache to fill out the image, the results sometimes almost resemble oils. Seeing the works of Degas made me realise how much expressive potential it has.

‘Led Zeppelin Sketch’.
Monotype and chalk pastel, 2024

‘Plant Pot’.
Monotype and chalk pastel, 2024

‘The Shadow Self’ (Spot).
Monotype and Ink, 2023

‘The Shadow Self’ (Editorial).
Monotype, 2023

‘Train Kept Walkin’.
Monotype, 2022

‘Lotus Sketch’.
Monotype and chalk pastel, 2023

‘The Headdress’.
Etching, 2023

‘Led Zeppelin, Live at Earl’s Court’.
Screenprint, 2024

‘Chrysler Building’.
Screenprint, 2023

‘Highwayman III’.
Etching with relief ink and watercolour washes, 2024

‘Battle of Cable Street, Frame 4 edition 4’.
Drypoint, 2022

‘Battle of Cable Street, Frame 8 edition 1’.
Drypoint, 2022