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 challenges were over-thinking, relaxing and just starting/doing. 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 initially inspired by the work of Sue Davis.

Figure 1: Printmaking 2 Inspiration

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).

 

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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)

OR

• a test plate for drypoint etching (as an example of an intaglio printing process)

The Sample

Test Linocut

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:

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 linocut was printed on 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 though 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.

The silk cut lino blocks are 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 intended – 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, less detailed. I did get to the end.

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:

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 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.  

 

 

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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:

I was initially inspired by

 

Figure 1: Printmaking 4 Inspiration

Subject Matter:

 

Purpose/Intent:

 

The Process

Materials & Techniques:

 

Creative Choices:

 

Challenges

 

Evolution

 

The Outcome

 

 

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Reference:

Printmaking 4 Images:
Figure 1. https://

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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.

 

 

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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 Idea

Inspiration:

I was initially inspired by

 

Figure 1: Printmaking 5 Inspiration

Subject Matter:

 

Purpose/Intent:

 

The Process

Materials & Techniques:

 

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 Idea

Inspiration:

I was initially inspired by

 

Figure 1: Printmaking 6 Inspiration

Subject Matter:

 

Purpose/Intent:

 

The Process

Materials & Techniques:

Creative Choices:

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

Challenges

Despite using a rule 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.