reflectory comment

Having done monoprinting before using oils, found there was a mental block using ink. It wasn’t the technique but after feedback from my tutor, was advised to draw more than write in the sketchbook, avoiding duplication of work. There is more clarity now and feel that composition, design and colour choices are more coherent in application. It was difficult to alter from a presentation feel, as the printed work, took so long to dry and would have taken too much time if printed directly. This hampered initial thought processes and was unsure of how to start this part of the course. However, once started got a carried away with some very inspiring prints and feel that the work has improved in a number of ways, allowing freedom to create. I was told to trust the process and not get distracted, which has allowed me to focus and experiment more without constraint of whether or not it was right or wrong.

I feel that my personal voice has emerged and feel more confident in my abilities with quality, quantity and diversity. I am able to express my feelings into art and that is important to me. I find that on dark days, the work that I do is heavier and darker, but other days colourful and bright.

I was very happy with most of the prints, where there were unsuccessful ones, it was usually down to the background choice. a consideration for future work. Having shown the work to my partner, there were things that he liked that I didn’t and that is down to personal choice.

Having researched a number of techniques and artists, found initially I wasn’t inspired  however after looking deeper into the techniques realised how much skill had gone into some of the work and began to appreciate how varied printmaking is and how it made me feel.

Degas for example, heads of man and woman was blurred and provoked a sinister feeling whereas Paul Klees, La Carica, reminded me of a memory of childhood. However, other work showed colour variations, tonal values and composition, which was invaluable to the work created since.

Overall, I wouldn’t change the prints, apart from the backdrawing, which I felt lacked depth. This was possibly due to the paper or tool chosen. This is by far the best part of the course.

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“P_Wall (Sevenstar) « MATSYS.” Accessed November 13, 2016. http://matsysdesign.com/2011/09/17/p_wall-sevenstar/.

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Rex, George. Paolozzi / Ventilation Sculpture IV. Photo, January 1, 2014. https://www.flickr.com/photos/rogersg/12105689776/.

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STORE, YUKO SHIMIZU ONLINE. “Popular Print 7: DJ Geisha (Open Edition, Signed + Sealed).” YUKO SHIMIZU ONLINE STORE. Accessed June 20, 2017. http://yukoart.bigcartel.com/product/popular-giclee-print-1-dj-geisha.

“Susan Benarcik.” Pinterest. Accessed December 30, 2016. https://www.pinterest.com/tiffylance/susan-benarcik/.

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Exercise 3 Collatype collage printing


walton lighthouse Santa crux
https://www.californiabeaches.com/attraction/walton-lighthouse/

I chose this picture because there were clear definitions between sea, rock and sky. However when i drew it, the colours werent as sharp or had dark tones and think this was because it was late at night and was drawing under lamplight. However this could be useful observation for future work, and see the difference between daylight and false light drawing. The collage was made up of card, hessian from a flower basket and wool.

                 
Two photographs were taken and due to the light direction caused shadow, but i like the way it has taken the focus of the picture from the foreground to the distance.

              
The sugar paper is muted and feel the background colour was a bad choice, as the yellow paper is harsh. The second print was enhanced with nail varnish. Up close its quite messy but viewed at a distance looks better. It also has a contrasting textural feel, from the matt of the funky foam and the shine of the nail varnish.

                
When transferring this print to my sketchbook, i remembered the exercise from a previous assignment and extended the drawing, with pleasing results, trying to keep the colours as close as possible. Although both of these are simple they are both effective in design and colour.

                 

The same print was photographed in different light altering the colour of the paper. Having researched the technique of Chiaroscuro, it needs further exploration by possibly exploring the work of Leonardo da vinci or Carravagio and more contemporary artists like Bruce Monroe.
                    

Although the essence of the picture remains the same, the effects are very different, not compositionally, but tones, depth and colour.

Exercise 2 – Polyfilla block

Exercise 1 Polyfilla block

A piece of card was covered with polyfilla and patterns were drawn into it. This was allowed to dry and covered with ink and prints were taken.

                  
cartridge paper
These prints were unsuccessful because the print block had insufficient ink on it, leaving only a faint trace.

        


funky foam

                                       
cartridge paper                                                   sugar paper

Some of the prints reminded me of delft tiles, possibly due to the blue colour tile configuration. This is something, I would like to try again, but using a more defined pattern.

http://www.ebay.com/bhp/antique-delft-tiles
16 Vintage Antique Blue White Dutch Delft Ceramic Porcelain Hand Painted Tiles

 


hand made paper

The sugar paper was messy and lacked body, whilst the hand-made paper was more of a success, due to the surface which was uneven and absorbed the paint well, lifting the paper in areas.

Overall I was pleased with the prints and surprised at the diversity, with different papers and colours.

Project 2 Exercise 1- Collatype printing

Exercise 1 create a collage block

                                     

 

                                       

  

Collage was made using scrim, textured grid, fishing wire, shaped and ordinary sequins and lace
Layers weren’t flat, giving an uneven pattern, but showed interesting patterning, especially the gridded material. The print worked well on the silk, although did take a while to dry. Some elements showed areas for future development, but in a different configuration. Changing the background colour made a difference, the purple stands out on the pale blue background but seems to recede on the pink silk.

Collage 2 using polystyrene, pretzels, sequins, lace and gridded hessian.

                                                                   

I decided to do a second one, to see if the results were better. Again some areas were better than others and printed well, especially the lace and the sequins. I felt the lace would make a good overall background with other elements possibly printed in another colour. There was a huge contrast between the silk and the paper and a good indication of how light plays a part in design. I decided to splash paint on the print and loved the result as it looked like a dancer. I felt out of all of the prints this was the one that i could develop.

 

Further experiments – stencils

                    

After the initial block, i got carried away with printing and really enjoyed the process, which was quick (apart from the drying aspect). I feel that I have captured the essence of printmaking and the most successful of all of the projects attempted so far. The garden has been inspirational and found a number of leaves with interesting texture.

Colours chosen worked very well and a change of background altered the depth of a picture, whilst some receded into the background others stood out. With some of the prints, I cropped to see what the effect would be with the result of a sharper picture.

        

Newspaper                                                 Card
         
sugar paper                                                sugar paper


Sugar paper

         
Lined paper                                               Lined paper

The lined paper gave movement to the print. It looks like a negative and found this happened on various papers. The majority of the pictures were had varied composition, colour and effect,

Card
             

                 

                 

                 

                   

                     

                            

                             

                              

 

Exercise 4 – Working with stencils

Exercise 4 working with stencils
One of the things that stood out in my sketchbook was a drawing of wrapped cellotape and when transformed into ink was very inspiring, although I omitted the pink tape and rounded the edges more. This gave the illusion of an eye, which worked well whilst printmaking, and very pleased with the results.

           


Printing on cotton fabric transferred the ink well and is ghostly in appearance, possibly due to the absorption of the ink in the fabric. I think it would have worked better on silk or a heavier fabric, as it wouldn’t have been as porous. But despite this gave a tonal quality.
           

Changing the background colour had a profound effect by changing the mood and worked well with the chosen ink. Cropping the print has produced a stronger and bolder composition, which is weaker with the border.

             

                

           

Overall all the prints were successful in design and adapted well to print. Colour choices blended well on the different papers, but feel further experiments are needed, possibly onto plaster of Paris. The least successful was on the tissue paper as it wouldn’t dry and wasn’t as sharp as some of the previous prints.