Assignment 2: First Relief Prints

28/09/16

Assignment 2: First Relief Prints

Submissions:

Task 1 (Project 5):

 

Two printed test cuts (mark making).

 

Task 2 (Project 6):

 

Three single colour linocut prints

 

 

Other single colour linocuts

 

Task 3 (Project 7):

 

Three multi-block prints

 

 

One impression in a single colour of individual lino blocks

In Addition

To support your work you will have drawings, comments and ideas for further experiments in your learning log.

Concepts and Ideas for Further Experiments  "Contrasts & Female Misogyny" Ideas

Concepts and Ideas for Further Experiments
“Contrasts & Female Misogyny” Ideas

I have been exploring concepts and ideas with meaning and an emotional connection to me. I have considered contrasts as a subject, which has been explored in page 19 of my sketchbook, and also a subject that strikes me often in everyday life and news, misogyny by other women. I have encountered this first hand throughout life and it never fails to surprise and disappoint me – from school days when apparent friends discuss others’ faults behind their backs, to the workplace (particularly in male dominated environments) where a female manager saw others as a threat, to mothers judging childless women as lesser emotional beings. These occasions are frequent, however, they are dealt with by conflict or taking the higher ground as appropriate. It is particularly prevalent in today’s society, where social media (a misnomer if ever I heard one – more anti-social), is used by anonymous keyboard warriors to spill their vitriolic opinions. However, I am interested in exploring why this is the case. During my brain storming, it transpired that the latter example was the one that meant the most to me. It is a personal journey that I am beginning and may be cause some offence and indignation to some, however, that is exactly how I have felt on many occasions being the recipient of such judgement.

Concepts and Ideas for Further Experiments  "Contrasts & Female Misogyny" General Brainstorming

Concepts and Ideas for Further Experiments
“Contrasts & Female Misogyny” General Brainstorming

How can this be brought into my artwork? That is a very good question, and is probably why I have not tackled the conceptual element of art so far. However, working through my thoughts and feelings in my sketchbook is beginning to forge a path through the minefield (pages 19, 27-29). I have come to the conclusion that it is best tackled in a series of images and considering that this is a printing course, the use of symbols is a good place to start. I am also exploring the use of text within an image. I concede that these are not original elements, however, I am hoping that they will put across the message. The message that everyone has their story and is entitled to their privacy and not to be judged unfairly or cruelly.

 

Concepts and Ideas for Further Experiments  "Female Misogyny" Mothers - Childless

Concepts and Ideas for Further Experiments
“Female Misogyny” Mothers – Childless

Concepts and Ideas for Further Experiments  "Contrasts & Female Misogyny" Mothers - Childless - Totem Pole Designs

Concepts and Ideas for Further Experiments
“Contrasts & Female Misogyny” Mothers – Childless – Totem Pole Designs

 

 

 

 

 

 

 

 

REFLECTION AGAINST ASSESSMENT CRITERIA

Demonstration of Technical & Visual Skills

Materials:

This was a big learning curve, from the Soft Cut to authentic lino, water-based to oil-based inks and different types of paper. I have discovered a preference for authentic lino and oil-based inks, types of paper will be an ongoing experiment and often depends on the outcome of the proof print.

Techniques:

Learning which type of cutting tools to use for the desired effect will be ongoing. I was particularly held back when cutting away larger areas that I didn’t want printed until I thought about using the square ended tool. The registering of the paper and block successfully is crucial to a clean print, particularly when using multi-blocks. I had some success with both methods, by eye and using a jig, however, as noted in my write-up, the jig method gave me more confidence. The multi-block linoprints were a lot of work, however, they are versatile in that I could make the required change to the first block, which I wouldn’t have been able to do with the reductive technique (not that I’ve tried it yet).

Observational Skills:

Looking for suitable subjects appropriate to single colour and multi-block techniques, and to my current skill level was sometimes difficult. Composition is still key and I drew on previous courses to consider fore, mid and background, the rule of thirds, using the frame to fill the space, playing with scale etc.

Quality of Outcome

The single colour linoprints were of variable quality due to the subject and materials chosen plus obviously, skill level. My favourite composition for the single linoprint was of Montana Roja, even though I forgot to reverse the transfer! I still feel it has impact and am pleased with the marks replicating the light and dark, texture, scale and perspective elements. I would like to try this subject again, the right way round, in the future. Regarding the multi-colour linoprint, I am relatively pleased with the result for a first ever attempt. However, I can see may improvements to develop:

  • Use genuine lino for the block to increase crispness of cut
  • Be more adventurous regarding the detail marks as was begun in the flower bud/sheath.
  • Introduce outline where appropriate

Application of Knowledge:

I think this played a big part in my subject choices. Previous courses in drawing and painting influenced how I structured my compositions as note above.

Presentation:

This improved throughout the projects. Initially the test prints were a little messy on the edges. As I progressed I was more aware of superfluous marks and smudges and tried to eradicate them prior to actually printing the image. I haven’t addressed the subject of editioning as yet because I haven’t had a long print run – although I have taken on board the theory.

Discernment:

This is improving, which is probably why I stalled for so long during Project 7. I felt that the initial composition wasn’t right for several reasons and it was not until I found my subject by accident that I was happy to continue. Selecting the most successful prints is becoming easier too. I am extremely self-critical and will continue to be so, however, I have to accept that I am learning and “mistakes” are a crucial part of that process. Sometimes “mistakes” are actually more exciting as I noticed in the first multi-block print where the orange infiltrated the background. Had it not also contaminated the actual flower,I would have preferred it to the attempt at “perfection”. Perfection, whatever that is, is becoming more monotonous to me.

Conceptualisation of Thoughts:

This is still in its infancy – I have concentrated on learning the techniques so far. However, I am being encouraged to attack this more confidently by my tutor. I have begun to formulate an idea to take forward. this is being explored in my sketchbook. I need to consider symbolism, the message and the image itself and I am now excited to push this further.

Demonstration of Creativity

Imagination:

My main learning process so far has been from life – trying to attain proportion, accuracy, perspective etc. All are invaluable aspects and skills, however, I feel at the expense of my intuition, imagination and creativity. The exploration of my embryonic conceptual idea is going to push this forward and I am feeling more confident that I can explore more deeply into my own feelings.

I enjoy experimenting with different media and effects and I think this will help me with bringing out my imagination and creativity. I feel that I can often see the unusual in the ordinary and trying to reproduce this vision is what is going to aid me with fulfilling this criteria.

Context

This is a skill in itself. I am now more questioning, observant and critical when researching and viewing other artists’ work. I look deeper, not just at the technical aspects, but for what is being said and why. I am more intrigued with the ambiguous and expressive. I would rather return to such works many times and still come away with questions as well as answers. I feel art should make the viewer work to fully appreciate it. That is a tall order to give myself, I realise.

 

Project 6: Single Colour Linocut – continued

15 – 17/08/16

Further Single Colour Linocuts

I decided to explore my other sketches and attempt further single colour linocuts.

Initial inspirational sketches from around me. Pencil in A4 sketchbook

Initial inspirational sketches from around me.
Pencil in A4 sketchbook

 

A neighbouring villa was interesting due to the mid afternoon shadows cast by its various elevations. I needed to simplify the image and remove the additional extensions which would have added confusion in the monochrome reproduction. I also felt I needed to include some of the plants around it as it would have been too stark and “man-made” without them.

The sketch I made from life was more interesting as the sea was never still and the volcanic rocks appeared almost uniform en mass, yet were very individual on closer inspection. I was challenged by how to make the waves recognisable, how to delineate the sky from the sea effectively and how to create convincing rocks all in monochrome.

 

 

White pencil on black paper sketches of villa and coastal images

White pencil on black paper sketches of villa and coastal images

 

 

I began as before, by drawing in white pencil on black paper. At this stage, I felt that both images would work successfully as a single colour linocut.

I decided to work on the coastline scene first of all as I had more of an affinity with it. This is probably because I sketched from life.  However, as I reviewed the white on black drawing, I felt that the rocks needed more individuality. I then decided to make some studies of the rock to try to become more familiar with its character.

 

 

Coastal Scene Linocut

The following gallery shows the process from white on black sketch to cutting the lino block. To increase interest, two of the rock studies were also traced and transferred to the lino, this was to give a definite fore, middle and background composition.

 

 

Following on from the first proof rubbing, I took a couple of prints, first on newsprint and then on light weight cartridge paper.

Coastal scene - first prints for review on newsprint and on light weight cartridge A4 paper.

Coastal scene – first prints for review on newsprint and on light weight cartridge A4 paper.

 

From these early prints, which are more easily judged for accuracy and success than the proof rubbings, I made some observations and notes for amendments. Those being:

  • The foam coming in to the beach needs to be more horizontal – less slanted
  • The sea goes a little uphill on the right of the horizon
  • The rock from my study looks more like a face
  • Think I prefer the softer white of the newsprint to the bright white cartridge paper

Taking these into consideration, I made some revised cuts and amendments.

 

 

 

 

Coastal scene - selected final print on heavy weight, off-white A4 cartridge paper.

Coastal scene – selected final print on heavy weight, off-white A4 cartridge paper.

 

Self Critique

  • Pleased with the sky, it has a definite separation from the sea, yet has some movement and gives perspective with the varied marks.
  • Once rectified, the horizon is clear and level but has movement.
  • The sea, up to the foam is quite successful, although, I think I cut away too much for the sea spray on the left wave.
  • I was disappointed with the sea-foam, which worked really well in the white on black drawing. Again, I think I cut away too much when trying to amend this part of the image.
  • The rocks were my main disappointment. I think by tracing in my studies in an attempt to increase interest, I made my transferred drawing too confusing to follow, especially as it was in reverse to the original sketch.
  • I don’t think there is enough delineation between the sea and the rocks so the image merges everything together
  • I am, having said all that, glad I tried it though. It is a matter of practice and becoming used to working in reverse. It is an ambitious image for my second lino block and taking that into consideration it turned out better than maybe it should have.

 

Villa

After an ambitious couple of images with much texture, I thought it may be a nice change to go for more man-made shapes and angles. The neighbouring villa, obviously was still there for me to use as reference alongside my original sketch.  The lighting was a little different as it was later in the day, so I decided to stick with my original image for that.

I also decided to try actual lino instead of the artificial, soft cut substitute. Again, using the white on black drawing, I transferred the image in reverse onto the lino. The main “white” or negative lines and shapes were cut out first. I find that, sometimes, I can become too engrossed and forget to change the blade to a more appropriate size or shape, which I did here on the  pillars at the front. This took a little too much out of the sides where they should have been in shadow. I may just have rescued them by widening the pillars themselves.  It was also tricky defining the varied blocks in the volcanic wall – which is built in a similar way to dry stone walls by wedging differing shaped and sized rocks together. There is no mortar holding them together and the crevices between blocks are dark and the blocks themselves can reflect quite a lot of the sunlight.  I tried to replicate this, however, with plants and leaves in front I had to ensure they didn’t merge together and held their own definition.

I tried to give the image a sense of place by lightly indicating the planes in the background and additional shrubs in the front.

On the whole this worked ok, although, I don’t find it as engaging as the other two designs.

 

 

I took a few prints on newsprint, light weight bright white cartridge and heavy weight cartridge paper. The bright white paper appealed to me the most as it symbolised the bright afternoon sunlight.

Villa - selected final print on A4 bright white light weight cartridge paper

Villa – selected final print
on A4 bright white light weight cartridge paper

Comparing Substitute, Soft Cut Lino with Genuine Lino Blocks

Substitute, soft cut lino blocks were all I could get before moving away. My observations were:

  • They are very easy to cut into, although, maybe too easy at times.
  • Trying to achieve a clean end to the cut was difficult and a lot of quickly made marks for texture were inadvertently left “feathery” and not sharp.
  • I felt it would be easy to cut right through – and at the edges I did at times.
  • As I only used these for the more textural images – the soft cut may have had an advantage for these marks.
  • Transferred drawings were easy to see and follow.

Genuine Lino – I had a few blocks from years ago that I had never used.

  • Had to be warmed for easy cutting – which slowed me down in a more considered way.
  • Much easier to be precise.
  • Cleaner ends to cuts – much sharper finish.
  • Because of the more solid construction, I felt more in control (until the lino cooled too much – the blade could then slip).
  • The main disadvantage, was viewing pencil marks on the darker lino.

On the whole, though I see why the substitute version has been developed, I preferred the feel and handling of the real lino – for now!