25 & 27/01/17
Research Point: Experimental Relief Prints
Take a look at some contemporary printmakers who use experimental methods to make their prints. What have you found of interest? What new techniques and ideas have arisen in this investigation?
As suggested I accessed the Printmakerscouncil.com website to research and discover some contemporary practitioners and their techniques. There were all sorts of print styles, techniques and forms available to see and was quite overwhelming, so after a few forays I decided to concentrate on the Relief Printing category.
Although etching rather than linocuts, the process of developing an idea is relevant. The stages that Christina appeared to follow were:
Theme => Recurrent Elements => Drawing => Collage => Inventive Techniques & Experimentation (not elaborated on) => Printing Process
She says she responds to the unknown element rather than controls results from start to finish, which is a liberating way of thinking.
Sinclair uses collograph type printing that I have yet to explore. I am attracted by his preference of single, original prints rather that traditional editions. I like the idea of working on a piece of work to bring out its depth and texture rather than faithfully reproducing a number of the same image. This appeals for the freedom of expression it could give.
Jess Bugler – jessbugler.co.uk
Jess creates reductive linocuts in very limited editions. Themes of exploring the modern world in its intensity by limiting the editions stops the message or narrative being diluted. Her Syria series is beautiful in its horror, composition and detail. Jess’ Nightwatch series was very interesting in its technique. When I saw the prints I though they looked like hand formed clay heads with the pulling and stretching of the clay to form the shapes. Reading the commentary, that was exactly what Jess had done. She had sculpted and moulded the heads of the Militia Men in Rambrandt’s Nightwatch painting in clay, then photographed them in bright light and created her linocuts from the tonal and textural images. Genius idea.
Her colour palette is limited too and ranges from monochrome to 2 or 3 contrasting colours or tones to give the most impact to each subject as it suits.
Ruth Barrett-Danes – 2d3dsouth.com
Ruth uses the landscape and nature themes from around her environment. She uses both intaglio and relief methods on limited print editions as the inking up process can not guarantee exact replication across a large edition. Luckily as I didn’t really know the process of intaglio printing, Ruth has put a nice description of her process on her website: The cut plate is inked to include the cut away areas, excess ink is carefully wiped away and then the plate is re-inked for relief printing, this is then printed on to 300gsm damp paper. She says this gives more depth and richness to the print. I am keen to try this method. Ruth often combines mono and linocut techniques too, depending on the effect and image.
These may or may not be particular original ideas and processes but they have given me inspiration to be a little more free spirited with my attempts.