Research
I began this unit at the same time as I had a planned visit to London. I though great, as this meant I could pop into Tate modern for inspiration. Originally going to see Henri Matisse's work I thought I'd have a look around to see which artists jumped out at me. And use them as a starting point.
Pat Steir
I
was intrigued as to how Steir created her waterfall prints. At first glance I
hadn’t realised they were created using a printing technique . I had to Google
what intaglio meant and it was fascinating to
watch the technique. And I am already thinking of ways to bring this technique into my work. I think I’m definitely going to enjoy exploring monoprinting and the Uniqueness each print produces.
Next learning from my feedback in the last assignment, I began to research what the thought was behind her work and began to read some of the articles about her work. Learning about her journey into Taoism and Buddhism. It was interesting to learn about the spiritual journey the waterfall takes you on a journey, flowing into the darkness with the contrasting black and white. And the lack colour makes it all about the water and how nature makes it flow like the paint running down the canvas making its own paths.
After being inspired by Steirs black and white work, I wanted to explore her work with colour. I love the contrasting rigid lines in the
Speirs
work had a sense of free spirit, marks not being thought out just placed where felt right in
that moment created a natural sweeping marks and lanes across the canvas.
She
creates layers of colours and layers of marks, I wonder if this is created with
a different layer of print each time. Using expressive marks to convey the way
she feels whilst creating her piece.
The
piece I just to look at in more detail reminds me of blocks of high rise
buildings the rigid hard lines of the first layer, then the next layer the blue
sky bathing the the towering glass towers. Then the frantic redlines I see them
as representing the busy people rushing about at work, with the final white
broad sweeping strokes, making them the immediate thing your eye is drawn to.
Knowing that Speirs based a lot of her work around nature, I feel like those
white swirling lines represent the wind. Flowing freely around the tower blocks
eclipsing the skyline.
https://www.levygorvy.com/artist/pat-steir/https://youtu.be/aswGk2-eXLIhttps://www.tate.org.uk/art/artworks/steir-waterfall-night-p02952https://youtu.be/x5eLIN_GOFI
Nancy Spero
The next artist that I was drawn to was Nancy Spero, I was drawn in by the sadness I felt looking at her piece hanging in the Tate. What I saw at first glance was a person staggering away from a body on laying on the floor. It made want to read about the piece and understand it more, what was Spero trying portray to us.
Reading articles and finding a video of Spero discussing her work and how she collaborates with other artists. Using one printing plate which she has created but allowing the artists to produce artworks with that one plate. Letting them put their own stamp on something that could be quite a repetitive print. But I believe she wants the artists to use the plate as a starting point to express themselves from.
Its made me think about the different ways I could change a print when using the same image. Changing the colour, medium, pressure, multiples. Like the image below using multiple prints of the same person, using varying pressure and medium coverage . The multiple prints also give the impression the woman is moving in the background. Using a very rudimentary print in the background, and a more detailed print in the blue. The two different styles of print appear as though they could be from two different artists have created the work, which is not the case. Its interesting to see how the same technique has produced such different outcomes.
Ellsworth Kelly
I
was taken aback but the size of Kelly’s piece Purple, Red, Gray, Orange. How did Kelly create a
print so large and get the colour so vibrant and solid. A lot of Kelly’s work
is focused around line, colour and form. Looking at his early works in the
Suite of Twenty-Seven Color Lithographs 1964–5, his whole series is based on
colours and shapes. Using contrasting colours, I do wonder what the thought is
behind the shapes and colours. I’ve been researching but struggling to find
anything about it.
I didn’t really know much
about lithography. I spent sometime looking into the technique.
Print making: lithography
Kitchen Lithography without a Press!
So the
difference between lithograph print and a normal mass produced print is that
the lithograph print is the original print from the artist.
I
learnt that Kelly began the works as paintings that then developed into
prints. Then exploring further with different ink mixtures and papers, which is
something I do with my initial ideas.
What I
find interesting with lithography and Kelly’s work is the different types of
images that can be produced. From the solid, bold, shapes, to the fine lined
flowers and then the mottled distorted marks that make up a face. You wouldn’t
think they were all created with the same technique.
Purple Red Gray Orange (Violet Rouge Gris Orange)
Exercise 1:Mark-making
Gathering together a collection of tools, some where ones I had used previously in other mark-making exercises such as a mascara wand, twig and an end of a paint brush. Bringing in some new tools such as beads, a chop stick, and a tool I created myself with hardened glue one end creating texture and beads glues to the other end of the rod. Some worked better than others!
I chose to work with a water based as I thought it would be easier to clean up. It was a tedious task resetting the print plate for each print, What was even more frustrating was when the print didn't come out well.
What went well during this exercise was, using sharp hard tools like the chop stick and the hair clip, scraping and removing the ink. Either wiping the tools or allowing the ink to build up at the side of the marks. Leaving the residue behind meant that when the paper was laid on top to print it then made the marks smaller. Sometimes resulting in different marks to what was originally created.
Whereas you had a different effect when it came to the softer more subtle tools for example the beads and the mascara wand. These created less defined and more scratchy marks within the ink.
The paper used also altered how clear the prints and marks are. The more lighter plainer paper meant the marks were clearer. The patterned coloured paper took away from the marks, perhaps using a more contrasting coloured ink would alter the clarity of the print.
Collecting together a variety of ideas/tools to
develop my printing ideas.
Exercise 2: Drawing onto a Printing Plate
Choosing to base my next set of samples on the
mushroom images were used in ATV. I chose this sketch as I felt it gave me an interesting selection of marks to create.
I began by taking a cotton bud, which created bolder marks in the ink similar to the original sketch. Using a black printing ink on a acrylic sheet to draw on. The first challenge I found was removing enough of the ink to make a defined image. Using quick, repetitive, movement, giving an effect of a rough sketch. Then trying to add colour to the sample I chose a bright green colour to add detail to the gills of the mushroom. Using the wider end of the chop stick to draw like onto the plate, choosing to not wipe away the previous print and then using that to guide where to make my marks.
Recreating the previous sample this time using a thinner layer of ink from the residue left from the previous sample. Then using a hair grip which created a more scratchy effect on through the ink. Giving smaller more subtle lines on the plate. Out of the two designs I feel as though the first was more successful, as it was clearer, bolder lines, and then using the green to emphasis some of the detail within the mushroom.
These two samples are a good starting point to develop on from exploring tools, paints, paper, colour and size.
Exploring a different technique this time clearing the area I wanted to add colour to and adding the colour in that area and printing. Using acrylic paint to give a wider selection of colour, this created an interesting effect. The prinking ink gave a flat bold base, then the acrylic paint blending and blurred together giving something of a tie-dye look.
I went on to use a selection of papers and material, using coloured paper to add colour to the print. Using the same printing ink, yet creating varying clarity and colour transfer.
It’s hard to get an accurate print with this
technique. I realised it reminded me of when I did lino printing many years ago
at school. I had to break the piece down into layers and work out what I wanted
to print on each layer to build up a finished image. But drawing on the plate
made it more complex, trying to layer and match up each later.
I found working with fabric easier to transfer the ink onto than paper. Maybe
that was due to the absorbency of the material. I do also like that you can add
more detail with every mark that’s made, rather than just a flat print of
colour.
Exploring different paints to see if a different effect could be created depending on the paint qualities, I found the acrylic paint difficult to spread on the plate. Although it did give me a wider range of colours to use. I also tried gouache, using wax resist on the printing plate. Then painting the gouache in a thin watered down layer. Unfortunately the wax resist did not pull through onto the paper.
Taking all my ideas and samples and putting
together a final sample of all parts I felt went well. Choosing to use fabric
to print on, as I liked the way the ink transferred onto the fabric. Almost
absorbing the ink, this also meant it was visible on the reverse which helped
layering on each layer of ink. Breaking down the image into 3 different layers
with 3 different colours. Using the base of a feather to create the solid lines
and a mascara wand to create soft brush strokes.
Exercise 3: Back Drawing
Collecting together a variety tools such as a pencil, knitting needle and a selection of carving pottery tools.
I have found starting off with just one colour and white printing paper to get a feel and understanding for the technique. And then using this as starting point thinking of colours and materials to print onto.
I love the distorted effect created on the aluminium, using a knitting needle to draw onto the back of the sheet. Holding the needle at the end, giving me less control whilst drawing. This gave a sketchy effect to lines as they were less accurate.
It reminded me of the Ellsworth Kelly piece I looked at in my research, with the textured, mottled effect.
Then adding colour on the next print, like the plate printing breaking down the print into layers of colour. This was slightly more accurate than the printing plate. Using different coloured papers effected the vividness of the print. For example the black paper was not as clear as the other prints.
Brown sugar paper
Black card
Marked brown paper from a previous exercise
For my final piece I chose to work on the same material I had used for the plate printing final piece, as I wanted to see if this technique would work as well as the plate printing. Using a combination of the 3 colours to draw out each section. As the ink was absorbed through the fabric it was easy to see where to draw the lines. Drawing it in reverse on the back, with the pottery tools for the broader strokes and for the more delicate lines using a knitting needle.
Reflecting on the previous final piece, there are similarities in the two techniques but the back drawing gave a more accurate lines as you able to see where the previous marks were laid.
Exercise 4: Working with stencils
Out of all the printing techniques I have tried so far I think I can safely say that the stencilling as been one of my favourite. Which I think is evident in the selection of prints I have created. Being experimental and looking at ways to develop a basic stencil into something more intricate and beautiful.
Using textured corrugated cardboard to make prints, creating two different effects using the same stencil. Introducing colour into the stencil with a crisscross effect across the curved line of the stencil.
I wanted to explore colour further, I have always struggled to be adventurous with colour but now was a good time to bring out some bright playful colours to compliment the basic round stencil shapes.
Then thinking about how I can develop the stencil on further, exploring how I could include more detail into stencil. Making the stencil into something that resembles a jigsaw puzzle, working out what parts to remove to add the different colours. With the one below I began with a piece of card the same size as the paper. Then cutting the two selection out to represent the mushrooms, then once the red and black base was set, then cutting into the mushroom shapes creating a star burst shape. This lead onto my next set of sample, moving away from the circles and onto the zigzag lines of the gills of the mushroom.
This time using just a curved zigzag line and a little circle for the stem of the mushroom. Using the stencils like a stamp as well as a stencil. I particularly like the paint effect made with the mottled yellow and red. The black background emphasis's the stencil giving it a border.
The prints above reminded of Paul Klee's work, with the colour glinting through the darkness. Like Paul Klee piece below with the coloured sails glistening in the moonlight.
Project 2 Collatype Printing
Learning how other artists create textured prints using filla and carborundum (Known as “silicon carbide”, which is an abrasive like wet and dry sanding papers. It also the grip tape on skateboards and other slippery surfaces.
And looking at other works to inspire me further in my artwork.
https://handprinted.co.uk/blogs/blog/meet-the-maker-sue-brown
Jacky Lowry
I came across Jacky Lowry, what I liked about their work was the story behind it. They used found items in nature, having to kept their work simple whilst looking after mother. Having limited access to items stretching her imagination further with the resources she had to hand.
Project 2 Collatype Printing
Using
a technique that has worked well in previous exercises. Gathering together a
selection of somewhat unusual items that I felt would create a varied printed
marks. It’s exercises like this that make appreciate the random bits I put away
as they might be useful one day. And today is that day!
The
first thing I chose to work with was the cardboard packaging. This created an issue
though as the height of the packaging was higher than a lot of items I’d chosen
to work with so for the items lacking in height I used cardboard to raise its
height. In hindsight this possibly effected the print quality as I corrugated
cardboard. This could of created a cushion which meant that the printing wasn’t
as defined as I’d hoped.
Choosing
items which would achieve a variety of marks. Bolder marks like the polystyrene
ball, cardboard packaging and the straws. To more subtle items that created
more of a texture like the rice, lentils and quinoa. I thought this is going to
look great it would come out really clear and interesting and well that really
wasn’t the case.
First print
Second print
I had visions of a nice clear prints being produced but this was not the case. I was really disappointed at first, but on reflection whilst writing this perhaps it wasn't as bad. Although not as defined you can see the more solid lines like the packaging and, straw and the string of beads. And I particularly like the textured print left with the quinoa. The print worked better on the first print as there was more paint loaded onto the stamp, compared to the second print with less. This resulted in some of the area barely leaving a mark on the page. But some of the heavier marked sections for example the pipe cleaner, came out more defined.
I have a good variety of size, shape and texture from this sample board, it has helped me to develop ideas for the next exercise.
Exercise 2
The
first thing I discovered was there was a key point when the polyfilla was best
to work with. A short window between too wet and the items would pull
the the polyfilla off rather than making a mark. Too dry and it would not leave
a mark as it would be too hard.
After
a couple of attempts and resetting the plaster, I found some tools didn’t leave
the marks I thought they would such as the netting. I had also tried the curved
end of rock, but this just seemed to make the filla stick to the rock and come
away from the board. The more successful marks were created with the bolder,
broader marks. One think I noted was that if the raised edges of the marks were
too high this effected the print made as the edges would be the first surface
to hit the paper, so if this wasn’t and even raised surface a clear mark would
not be achieved.
Using my selection of objects to either print marks into the filler and making marks with the items, creating slashes, dots and scratches across the polyfilla.
Pressing the paper onto of the collage and putting the collage onto the paper to see which technique was more successful. I found that putting the paper on top of the collage and pressing into all the crevasses making the marks more defined.
Also seeing if there was a difference between the first print and the second print using the same ink. With the first one being more bold and the second being more subtle.
Exercise 3 Collatype collage prints
The first thing I realised was how I really need to make sketching part of my work, things I find visually interesting. I need to get a pocket sized sketchbook to carry on me.
Rummaging through the work I had to work with I came across some of the sketches made in ATV of a teapot at different angles. Choosing a birds eye view to base my initial print on, taking inspiration from Ellsworth Kelly. Using bright contrasting colours, to enhance the primary shapes used to make up the tea pot shapes. Initially I began by sketching out how I could break up the image into different areas or layers.
Then choosing a theme to create on my print pads, As the main shapes I was working with was circles I thought that would be a good place to start. Choosing to work with items glued onto the card shapes, polyfilla and modelling paste. I had discovered modelling paste during my research and was interested to see how it could be used. Using bubble wrap to imprint into the modelling paste. I was happy with the effect achieved.
I am still finding polyfilla a difficult medium to work with as the raised areas were distorting the print as they were the highest point to hit the paper. I used a dabbing method with a paint brush to get a more even coverage of ink.
One of the area's that I felt worked well was the bubble wrap with the modelling paste created an interesting, clear print on the teapot spout.
Keeping on the teapot theme, this time I wondered if I could explore using tea as a printing medium. Using most parts of the tea making process to create the print. Even using a tea bag to colour the paper.
Using sugar, tea leaves, spoon, milk lid and the teabag itself, with a mixture or Polyfilla, glues on and modelling paste. Using the idea of the sugar from one of the YouTube clips I discovered as part of my research, in which she uses sand in her printing. Then using the teabag to create a texture within the moulding paste.
Using the same technique as the previous print breaking the image down into sections. This time using a mixture of blue and black to create a less vibrant effect. On reflection I wonder if I could of included some of the tea into some white printing ink, to create my own coloured inks. Exploring different types of tea such as fruit teas to see what colours could be created, a lot like the natural dying I have explored in my work previously.
I then took some time to reflect as I began to struggle on the next route for my prints.
Deciding to stick with colour, an area that doesn't come naturally to me limiting myself to a selection of vibrant colours to work with. This helped to build a series of prints.
I tried mixing some of my own, didn't feel they were successful as they were not vibrant enough. This is an area I would like to explore further.
Managed to create a series of 4 prints that sit well together, created with different materials to print with such as, string, pompoms, and other found objects. Printing onto both paper and fabric, I prefer to print on fabric I find I do the opposite to working with paper, instead of using the printing stamp to print onto the material, I used the material placed on top of the stamp to print off of. This worked better with the Pollyfilla stamps as you could manipulate the fabric into the different areas of the stamp.
Sorting
After researching artists I felt inspired by Ellsworth Kelly and developing a range of samples using a similar colour palette to Ellsworth using research to develop my understanding of colour and print. At each stage reviewing what had been produced and then reviewing processes online to inspire the samples further.
Overall I fell this wasn't one of my strongest unit, actually the it was in some parts. I enjoyed the first half and then we got to the collage exercise. This knocked my confidence I couldn't get the Polyfilla to work for me, trying it in many different ways. I found the modelling paste more successful, but I still lack in confidence with this technique and feel I need to explore this technique further.
I find I really struggle to remain focussed when an exercise is not going to plan. The mushroom prints I really enjoyed creating and found myself excited to keep recreating and developing more. Using simple designs to create interesting ideas.
This is where I'm stuck moving forward do I play it safe and go with the techniques I enjoy and feel I do well with. Or do I push myself out of my comfort zone and explore a technique I'm not keen on further and try to get it work for me?
Reflection
• Did you find that their work influenced the direction you took? If so, how did this transpire?
This
type of printing is new to me, which has made me explore the process more than
the other techniques done throughout this course. I have enjoyed watching other
peoples work and going to the Tate to look as artists work in person. Feeling inspired Ellsworth’s
use of colour and transferring that into my own work with a bright vibrant
colour palette. And the styles of Nancy Spero, helped me to be inspired to recreate an
image into texturally and visually interesting print.
• Discuss how the printmaking went for you. Was there anything you particularly enjoyed or
anything that particularly challenged you?
Not every aspect of printing was for me? I
enjoyed the more traditional style of printing, not so much the collatype, the
print plates I was excited to create and thought I’d come up with some great
ideas but when it actually came to printing what was achieved was not always as
pleasing as I’d hoped. This was especially true when it came to the polyfilla
prints. They seemed better for subtle texture rather than the more defined
prints.
On a more positive note I enjoyed the use of colour and I am beginning to enjoy
using a more colourful colour palette in my work.
• How well did you compose and craft your prints?
I found it difficult to print accurately there were some prints I would like to redo such as my final teapot print collection. I can see real potential and wish I had more time to refine the prints and explore further different items to create the prints.
• How would you describe your use of colour?
I found I am becoming more confident in using colour, purchasing a selection of colourful printing inks. With a vibrant colour palette and then working within that palette but using the palette in varying combinations.
• Did you come up with any ideas that you may want to develop in the future?
The set of four teapots and the circle mushroom prints, firstly I like the colour palettes used with these print and secondly I like the repetitive images that can be created but using different colours, textures and patterns.
• Do you have any ideas about how to use these printing methods in combination with the
other sample-making exercises in this course?
I have come back to the circles again which have appeared in several of my exercises. For both mushrooms and teapots. I would like to explore them further looking at different methods and combining them. As well as using a vibrant colour palette to keep building on my confidence in using colour.
• How did you use drawing within this part of the course?
I find I use my sketchbook well to record my ideas, but during this exercise I've realised I need to use my sketchbook more to capture things that inspire me. I’m good at collecting items I think might be useful for a project at some point I now need to do that with sketching. This would then give me a starting point for many of these exercises.
• Would you consider using printing to develop ideas in your sketchbook?
I think there are many areas printing can be included to develop some of my ideas, using print to create a base to work into or using print to give depth to an idea. It creates another layer in a design.
Demonstration of technical and visual skills – materials, techniques, observational skills,
visual awareness, design and compositional skill (40%).
Part Four provided me with plenty of scope of experimentation particularly with the colour and printing material, printing isn’t a skill I am comfortable working with as I have had little interaction with the technique. Using a variety of techniques and making them my own, like the use of sugar instead of sand. And exploring new mediums like modelling paste, and learn the possibilities of creating print work with it. My technical skills were tested and believe I could be of done better in some of the technical pieces, such as the collage block. I’m becoming more comfortable with colour and I think I’ve documented that well through out this unit.
• Quality of outcome – content, application of knowledge, presentation of work in a
coherent manner, discernment, conceptualisation of thoughts, communication of ideas
(20%).
I think my outcome in Assignment Four fulfils the brief well. The work I have presented is experimental and well documented in both written and visual form. Presenting my work in a easy to follow way, with links to research pages and videos. I do find it easier to express my ideas in drawing rather than words. And often have to tell myself to stop on certain exercises as I get lost in the work instead of moving on.
• Demonstration of creativity – experimentation, invention, development of a personal
voice (20%).
I have used a combination of what I believe to be unusual and tradition items to print with. For example the teapot print created with different items I would use to make a cup of tea with from the tea leafs to the milk top.
I feel I can be more creative when I have limited resources to work with like the artist Jacky I found inspiration from. It makes you think more creatively with the materials/items you have to hand. I found this with colour as well.
• Context – reflection, research, critical thinking (20%).
Overall there have been some areas I’ve enjoyed and others less so. Finding the polyfilla frustrating to work with, the end result to coming out how I’d envisioned. As much as I tried I never really got to grips with it.
What I actually found enjoyable was going to Tate modern and looking at work in the flesh, it’s much more inspiring than scrolling through the internet. I need to get out and see more galleries and exhibitions. There’s on at Kensington palace at the moment that’s on my list to visit.
I also found YouTube a great source for techniques. Different ways to layer the prints, or create texture. It’s definitely a resource I’d use again with different techniques and how to use them.
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