With a bit of time on my hands (Covid causing zero casual teaching work), and with the lithography course being postponed, I had more time than normal to work on this image. It almost sent me blind, and I discovered that drawing detail with multifocal glasses is not the best way.
Pantoneys Crown is a special place for many bushwalkers. It is an isolated flat topped mesa that dominates the Capertee Valley. It is a rugged climb and I didn't make the last 6 metres on my first attempt (first bushwalking romantic date) due to us not discovering the secret pass. We also got lost and disorientated on the way down (we really should have packed more than an orange and an orange juice each) and only found our way back to the car by following a fence line.
We took reinforcements for the second attempt and made it all the way to the cairn and back with the aid of ropes, some strong lads, and trail markers. I remember being proud of our efforts until I read the entry by adventurer Paddy Pallen, then aged 87 in the log book from the week before.
The 3rd attempt with my teenage children also ended in only a few making it to the top because one, we forgot the rope, and two, we didn't listen to the local farmers Jack Russell that had led us most of the way to the summit. Im sure he knew the secret pass but we had tied him up at the bottom of the cliff.
Mart, my husband has found the pass on his 4th attempt and has crossed the whole mesa and camped on top.
A big thank you to fellow bushwalking friend, Sam Marriot who allowed me to draw from her original photo. Sam led a trip up and over Pantoneys and then up Point Cameron after the bushfires and in between the two lockdowns. This view would not usually be achievable because the bush is just too dense.
Which brings me to the mystery of Lithography. This post would be too long if I spelt out all the steps (believe me when I say that there are many many steps) that went into creating this print. Traditionally you would draw on a ground stone with a waxy lithography pencil or crayon, but you can also use zinc and aluminium. We are using Aluminium which has been specially prepared. Its the closest printmaking technique to a tonal drawing.
Master printmaker, Tom Goulder (of Duck Print Fine Art Editions), is very skilled in his craft and has helped to create a limited edition which I am rapt with. These will be available shortly in my shop.
The first print is Marts Christmas present.
Message me here if you would like me to keep one aside for you. At the moment, I have 2 spoken for and 5 available.
The print/s are currently drying under weight and I will photograph it asap.
