Printmaking 1

Explore various possibilities of shape, colour and composition by creating a series of three collages (at least A5 size).

The Idea

Inspiration:

I’m constantly amazed by nature and the Australian landscape. I can spend hours venturing out in reserves and conservation parks marvelling at the endless beauty and inspiration this provides. I live on 10 acres south of Brisbane, and my dream is to revegetate the property with around 120 varieties of native seed I’ve been collecting and turn it into a sanctuary for the native birds and bees!

Subject Matter:

The subject matter of choice for this exercise was native flora. I searched for photos for inspiration and settled on the following. I liked that each are completely different anatomically, yet stunning in their beauty.

Purpose/Intent:

I wanted to find out if I could recreate the these flowers with the limited materials being used. How would I recreate the detail? Would I be able to tell that they were flowers?

The Process

Materials & Techniques:

All three collages were made from an assortment of papers I had on hand. I tried scissors to cut shapes at the start, but the process seemed a bit too neat/precise (and perhaps too easy) for me, so I went with tearing the paper instead.

Creative Choices:

For Collage 1, doing the tiny detail at the centre of each flower was impossible to replicate with torn paper. I opted instead for piece of torn paper and used tiny, craft scissors to make the fine stamens. It felt like cheating, but I couldn’t think of another option. For Collage 2, the some parts of the flower were quite glossy. In my paper stash, I realised that one of my red papers actually had a metallic finish on one side, so I used that to reflect some of shiny parts.

Challenges:

This was my first art exercise since Year 12 (1987), so the biggest challenge was to stop over-thinking and just start/do. Creating some of the fine detail was near impossible – particularly for Collage 1 and Collage 3. As a neat freak, I was constantly fighting with the glue and trying to maintain clean fingers. I realised about half-way through the first collage however, that I was fighting a losing battle. The glue stick won, but we remain friends!

Evolution:

I started the first collage using an assortment of green paper for the background, giving little thought to layout – in my head the background just needed to be green. When I started working on the second piece however, I looked at the photo in much more detail and realised that I could use the various coloured papers to capture dark and light shades and features such as the sky peeking through some of the greenery. This change in tactic I think improved the outcome.

The Outcome

Final Product:

I enjoyed the exercise very much. I loved working with paper. Hopefully I can learn from this, do away with the perfectionistic tendencies and lean into the process more naturally.

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Reference:

Printmaking 1 Images:
Figure 1. https://katehillflowers.com.au/blogs/bloom-journal/popular-native-australian-flowers-when-are-they-in-season-helpful-care-tips
Figure 2. https://katehillflowers.com.au/blogs/bloom-journal/popular-native-australian-flowers-when-are-they-in-season-helpful-care-tips
Figure 3. https://veggiegardenseeds.com.au/products/banksia-prionotes-acorn-banksia-australian-native-seeds?variant=40339204407351&country=AU&currency=AUD&utm_source=google&tw_source=google&tw_adid=&tw_campaign=20196936237&gad_source=1&gad_campaignid=20205188059&gbraid=0AAAAACaL3tpYh9YXWh7U_W_hMD2OKlr60&gclid=Cj0KCQjwjdTCBhCLARIsAEu8bpK7WYH71VZceN0pNpqtVMDzVBaPnVzBPXisiqoVqyCig1PjnvSo4VcaAoXHEALw_wcB

 

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Printmaking 2

Extend on your approach to constructing layered imagery by designing and printing OR* painting a hand-cut, stencilled image with a minimum of three layers.  Your work should be at least A5 in size.

The Idea

Inspiration:

I was inspired by the work of Sue Davis. She tends to do multi-layered work that includes my two favourite subjects – flora and fauna. I felt something similar would lend itself well to stencilling. 

Subject Matter:

I’m of course, drawn to nature and our environment. In a world full of busyness and angst, it’s nice to find peace and personal restoration in nature.

Purpose/Intent:

Knowing I was going to create stencils, I needed to keep the image fairly simple. Birds in a tree, how hard could it be?

The Process

Materials & Techniques:

I used cartridge paper to create my original drawing. Then I photocopied the image three (3) times, so I could divide the stencils into three main parts: a) tree trunk and branches, b) leaves and c) birds. I used an art knife to cut out each of the stencils. I intended to do a screen print with them, however I was too scared to try! So instead, I used Liquitex Acrylic Spray Paint to create the layering.

Creative Choices:

I realised afterward that my colour choices were limited to “the expected” – trying to recreate what would be seen in nature. 

Challenges:

My first challenge was working out what to cut out to create each stencil. It was much more complicated than I thought it would be. It took some time and patience to do each stencil. Only after I’d cut the stencils did I realise that I should have created my initial sketch (and photocopies) on larger paper. When it came to spraying the paint for each layer I was in trouble. My only way around avoiding overspray on all the edges was to mask the entire frame (again and again for each layer). The other challenge was the curling of the paper stencils due to the wet paint. It was almost impossible to avoid overspray inside the work because of this. Towards the end I did wait for the stencils to dry and kept them pressed flat under books!

Evolution:

After my first attempt at three layers (brown, green and blue), I realised I could re-use the stencils using slight variations of colour to create more interest. On my third print, I tried spraying green in the background, so there wasn’t so much white space.

The Outcome

Final Product:

I’d like to explore using this process as one of a few to create layers in future mixed-media creations.

 

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Reference:

Printmaking 2 Images:
Figure 1. https://au.pinterest.com/pin/1900024823015741/

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Printmaking 1 & 2 – Resolved Work

Apply the lessons and exercises of Printmaking 1 and Printmaking 2 in order to create a resolved work of your own design.  This work should be at least A4 in size, and may be either a screenprint, stencilled painting, collage or a combination of these processes.  This work should be on cotton rag or watercolour paper, or another relevant surface of your choice (eg. canvas, perspex).

**Add image here.**

 

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Printmaking 3

Explore different methods of mark-making by creating a test block for linoprinting (as an example of a relief printing process).

The Process

Materials & Techniques:

After watching the instruction video, I had a play with a 15x15cm silk-cut lino block and experimented with the tools 7 tools I had. It was harder to control the tools than I anticipated. My first print, despite using the baren and a spoon, was patchy, so I assumed insufficient ink. My second print was much clearer. I also wondered whether the ink I used (Derivan Block Ink) which is water-based was somehow different to that used in the instructional video. 

The Outcome

Test Linocut:

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Printmaking 3 – Resolved Work

Based on the lessons of this module and related studio experiments, produce a print that incorporates etching OR linoprinting.  You should also consider the use of hand-colouring techniques.  You can experiment with any medium to achieve this – colour pencils, watercolours, acrylics, inks etc.  

The Idea

Inspiration:

Printmaking 3 Inspiration: Figures 1-4

Subject Matter:

When I saw the blank 30x30cm lino block in front of me I immediately knew that I want to do something circular in design. I started thinking about what circular things created interest and went exploring my Pinterest boards for something interesting. I started looking at ink and watercolours and then at zentangle. Some of these pieces reminded my of the cross-section of tree trunks. This is what inspired me for the final design.

Purpose/Intent:

The idea behind the design was to really experiment with the marks I could make using each “ring” in the design to do something different. Could I recreate some of the detail with these tools?

The Process

Materials & Techniques:

Tools
2B Pencil
Carving Tools
Brayer
Baren
Stainless Steel Sheet
Water (spray)

Materials
Silk-cut Lino Block
Printing Ink (Black)
Stonehenge Paper

Creative Choices:

I wanted to create patterned rings and build the design one ring (or layer) at a time, using different techniques with each ring.

Challenges:

Slippage was a challenge. It was harder than I thought to control the carving. I learnt fairly early on that I had to go slow and steady and work hard on controlling each movement. If not, then the tool would slip and make unintended marks.

I found the silk-cut lino blocks to be quite brittle. I had trouble when carving two shapes close to each other. If I wasn’t really careful, the piece I was removing would become bigger than intended, flake and take away more of the surface than I’d planned – sometimes taking away the outline of the shape adjacent.

I thought that lines and shapes would be easy. Perhaps I should have chosen something simple or less detailed.

Evolution:

Each ring was created one at a time and grew organically. When the last ring was completed and I was left with space on three sides, I immediately wondered what I could fill it with. Should I fill it? I printed on white Stonehenge paper, coloured Stonehenge paper and black cartridge paper (using white ink).

The Outcome

Final Product:

**Add image here.**

Perhaps using blocks made from other materials may make the carving easier. I’d like to try painting the background in bright colours and print over the top. I’m looking forward to experimenting.

 

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Reference:

Printmaking 3 Images:
Figure 1. https://au.pinterest.com/pin/9359111720719054/
Figure 2. https://au.pinterest.com/pin/5911043261045735/
Figure 3. https://au.pinterest.com/pin/60657926225780478/
Figure 4. https://au.pinterest.com/pin/60657926225780478/

 

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Printmaking 4

Design and print a representational image using either the lino printing process or drypoint etching process as outlined in Studio Exercise 1.

The Idea

Inspiration:

In 2023 I visited an Australian Native Tree park (privately owned) in South Australia. Over a couple of hours, we traversed this magnificent place and got to see plants and trees from all over the country in one place. It’s the place I really fell in love with Eucalyptus.

Subject Matter:

Purpose/Intent:

The flowers of the Silver Princess are quite extraordinary in both colour and form – nature’s natural embellishment. I wanted to try and recreate these flowers in my print.

The Process

Materials & Techniques:

Tools

2B Pencil
Carving Tools
Brayer
Baren
Stainless Steel Sheet
Natural Sponge
Water (spray)
Paintbrush (round)

Materials

Silk-cut Lino Block
Printing Ink (Black)
Acrylic Spray Paint (Pink)
Acrylic Paint (Pink)
Watercolour Paint (Hand-made metallic)
W&N Pro Markers & W&N Pro Brush Markers
Ecoline Brush Pens
Arches Hot Press Paper 300gsm

Technique

I drew the image on the lino block with pencil and used the carving tools to carve the image into the surface. I did my first print, which, as I’d experienced in my earlier attempts, came out blotchy. 

My second print, I used the acrylic spray paint to place colour on the paper where the flowers would be (tricky when it’s in reverse and you can’t really see where you’re placing the block on the paper!). I used a dryer to dry the paint, then I sprayed the paper with water (hoping this would help with the ink coverage, but the print turned into a complete mess.

My next attempt I decided to use a sponge to apply the flower colour to the paper instead of the spray paint, let it dry and then sprayed water (removing excess), did the print, and it turned out better than the previous attempts.

I thought I’d try a different method of introducing colour with the use of watercolour paints applied with a fine found brush.

After the major disaster I faced at this stage (read about this below), I thought I’d try using markers.

Creative Choices:

When it came to lino carving, I tried to highlight the yellow anthers on the lino (the tips of the filaments/stamens – the reddish pink strands), using a stainless steel skewer. 

For printing, because the flowers of this tree are very pink, I thought I could introduce colour by creating a layer before the lino print. I used acrylic spray paint the first time. The second time, I used a sponge and acrylic paint and I liked this series better. It was simple and not overdone.

After a second printing attempt (on a different day), I finally had a couple prints where the ink was more consistent on the page (but still not perfect). I had these beautiful metallic hand-made watercolour paint pans arrive from India (for different art experimentation) and I thought I’d try to introduce colour using those. It was pretty, and finished. And then I found two of my five dogs eating the coloured version and the two most perfect black prints I had. Note to self: Close the door on the art room – always.

All I had left in the way of remaining prints was one that showed ghosting and one other – both blotchy. I couldn’t bring myself to print more (I will try again, but at the moment I’m happy to wallow in my misfortune). I decided to use my Winsor & Newton Pro Markers and Pro Brush Markers to introduce colour this time, but realised my colour selection wasn’t that great. I added Ecoline brush markers to the collection and coloured in by hand. I did the antlers first, then the filaments, then the floral tubes, leaves and branches. It’s a brighter version of the one that was eaten.

Challenges:

How many people can say that two of their dogs ate their homework?

Apart from that, there are a few issues I experienced doing this piece:

• I’ve tried spritzing the paper (Stonehenge or Arches), soaking it, patting it. I’ve tried more ink, less ink and using the baren and spoon until my hands couldn’t function any longer (generally when the ghosting occurred) and I still can’t seem to attain a solid black print. I don’t want to give up on this process because I enjoy it greatly, so I’ve ordered small hand-made press. Wish me luck!
• The stainless steel skewer I used to create the small holes representing the anthers almost re-sealed themselves, so they’re not as noticeable as I would have liked. I didn’t have a tool to cut out such small round areas. Perhaps I could have used a scalpel or one of my pottery hole-making tools?
• I had no hope of making eucalyptus blue/green with my markers, but did what I could with what I had.

Evolution:

To be honest, I feel like a fraud. It’s all fun, but it’s all new. I’m just feeling my way as I go – not particularly confident in what I’m doing and too tentative to go too crazy. In many respects I wish I had had the chance to play before taking this subject – but then that could have taken years!

The Outcome

Each time I print something, it inspires me to try again and to try something new. I can see printmaking becoming a big part of my practice going forward – prints on their own, layered prints, stencils, mixed-media prints etc. I’m excited to explore the possibilities.

 

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Reference:

Printmaking 4 Image:
Fig 1. https://www.gardeningaustraliamag.com.au/winter-flowering-natives/

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Printmaking  4 – Resolved Work

Based on the lessons of this module and related studio experiments, produce a print that incorporates etching OR linoprinting.  You should also consider the use of hand-colouring techniques.  You can experiment with any medium to achieve this – colour pencils, watercolours, acrylics, inks etc.  

Please note:  You can use the same block or plate that you created for Studio Exercise 2 to make your resolve work, however, you should take the opportunity to refine your design if necessary.  If you prefer, you can make an entirely new design.

**Add image here.**

 

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Printmaking 5

Measure, cut (or tear) and fold your book pages and then add content to the pages using the two-dimensional mediums and processes of your choice.  Your book should be at least 8 pages long.

The Process

Materials & Techniques:

Tools

2B Pencil
Metal Ruler
Bone Scorer

Materials

Stonehenge Hot Pressed Paper 300gsm

Technique

 

Creative Choices:

 

Challenges

 

Evolution

 

The Outcome

 

 

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Reference:

Printmaking 5 Images:
Figure 1. https://

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Printmaking 6

Make simple book covers for your concertina book.

The Process

Materials & Techniques:

Tools

2B Pencil
Metal Ruler
Glue Brush
Craft Knife
Bone Folder
Teflon Folder

Materials

Board
Bookbinder’s Glue
Bookbinding Fabric

Technique

I followed the instructional video – frame by frame, to the letter and without deviation.

Creative Choices:

At this stage of my artistic journey, I’m a little frightened of colour, so the fabric chosen for the cover was neutral (I also bought black).

Challenges

Despite using a ruler and pencil, it’s amazing how difficult it was to cut two identical pieces of board! I had to trim, trim and do more trimming before I was happy to glue the boards together. All I can say is thank you sandpaper! And again, waiting for things to dry is not one of my strengths.

Evolution

The instructions were clear and the process easy enough to follow. 

The Outcome

I can see these skills being very useful in the future. I think it would be nice to make some pretty covers for collections of loose work. I can also envision using handmade paper and paper collages as covers for new books or fabric with stitched motifs.

 

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Printmaking 5 & 6 – Resolved Work

Create a concertina book of at least 8 pages.  You should also make basic covers for your book.  You can use any two-dimensional medium to produce the content of your pages, but you will need to frame this around your interpretation of visual storytelling.