This page presents an overview of the prints selected for course assessment. The prints are mounted on black sheets of thin cardboard measuring 26 x 40 inches (66 x 101 cm), which is between A1 and A0 in size. They are presented in the order of progression through Parts 1 to 5 of the course.
Each section links to the assignment (with tutor report) and research.
Monoprinting
I had never made monoprints before and found it exciting to explore the possibilities of the medium. Brush marks printed on Sumi-E paper reminded me of Calligraphy writings (#1 Mark making). Technically, I struggled with the painterly monotypes because the ink either dried too fast or was too stiff for painting. Things improved when I switched to watersoluble oil paints and thinned them down to liquid consistency (#2a, Fruit and #2b, Cat at the window).
Simple masking techniques (#3, Penguins) were further developed by texturing the plate and multicoloured inking (below: #4a, Penguins and #4b, Skyline).
Subsequent monoprints combined at least two techniques. I ventured into a large series of shoe prints with colour and texture variations and discovered backdrawing to visually hold a print together with strong lines and texture effects (#5a, shoes with yellow background).
The second experimental series was based on leaves I collected outside. Using multiple identical leaves evoked associations with a landscape, and I tried a variety of techniques and approaches to the subject. The print I chose stands out for the looser and bolder approach I took by texturing the plate with a palette knife, and printing light over dark colours on medium gray paper (#5b, Imaginary landscape)
The third series started with torn paper stripes for masking and multicoloured inking. I developed the initial idea further into a series of skylines, from which I chose the blue-yellow version where background colours worked nicely with the dark skyline silhouette (#6a, Skyline).
The final series focused on a landscape view, it combined textured plates with multi-colour inking. For the assignment, I presented a blue and yellow print with very fine textures and a more realistic depiction. In the meantime I prefer a different print with a softer, less defined overall impression and the vivid magenta colour which adds to a surrealistic atmosphere. (#6b, The pond)
>> Assignment 1 and tutor feedback
>> Part 1 Research and reflection
Linocut printmaking
I had been doing linocutting earlier and tried an interior view for a monochrome print. The challenge was to translate the complex patterns of light and dark into a black and white graphic image and still retain identifiable objects. I chose the best 3 prints out of an edition of 10 for presentation (#7, Interior view).
A second subject with simpler forms was a still life with coffee mug on my drawing table. While I was proofing the first plate, I found the motif would benefit from a second colour, and cut a second plate for a two-colour print. I tried different types of paper and particularly liked the hand-made paper with deckled edges (#8 Still life with mug). This project had a big learning effect because despite some self-taught experience with linocuts in two or three colours, it had never occurred to me previously to make different plates for different colours.
The three-colour multiblock print in yellow, blue and black depicts a view over rocks and grasses at the seaside. I tried different inks and struggled with plate registration because I hadn’t noticed my pre-cut plates were not exactly the same size. The final selection was printed with Akua inks after slight adjustments to the plates (#9, At the seaside)
>> Assignment 2 and tutor feedback
>> Part 2 Research and reflection
Advanced and experimental relief prints
From a visit to Norwalk, Connecticut, I brought home some photos of the local library taken at night. I had been fascinated by the homely and inviting atmosphere of the building and chose it as the subject for a reduction linocut (#10, Norwalk Public Library). My aim was to capture the light effects of the street lamps and how it transformed the daylight colours into a totally different colour spectrum of a nightly scene.
The experimental relief print combined a cut-out scratchfoam relief with a four-colour linocut reduction print. The semi-abstract image depicts an interior view with two large cat trees in the foreground. Taking up what I had seen in research on contemporary printmakers, I experimented with opening up the standard rectangle printing area. Colour and line are used to structure the background. (#11, Interior view with cat tree)
>> Assignment 3 and tutor feedback
>> Part 3 Research and reflection
Collagraph printing
Inspired by an exhibition visit, I was very motivated to explore collagraph techniques. I developed initial test blocks further into multi-coloured collagraph plates inked in relief and intaglio styles. (#12 Abstract collagraph prints)
The subsequent representational motif was a group of geese on a pond. While the plate itself had a lovely quality to it, the resulting print was only moderately successful. I think this was due to difficulties handling the materials and anticipating how they would print, plus difficulties with creating enough contrast between visually busy and quiet areas. The latter is a problem my tutor made me aware of in his feedback, and I it’s one of the major learning points I take away from this course. I think I started improving on it, producing less cluttered / overloaded prints, but there’s still ample room for improvement. (#13, Geese on a pond)
Despite these difficulties, I found collagraph printmaking among the most fascinating techniques of the course and would like to incorporate it in future practice and experimentation.
>> Assignment 4 and tutor feedback
>> Part 4 Research and reflection
Combination printmaking techniques
The combination lino-/monoprint depicts a stairway and its shadow over different backgrounds. The initial version (#14a) was guided by the idea of ‘Stairways to heaven’ (the 70s Led Zeppelin rock ballad) with the attempt to create an ethereal atmosphere. Two subsequent versions explored different approaches, one inspired by the upcoming spring season (#14b, Stairways over flowered lawn) and the other as a new take on the New York skyline subject which I was fascinated with since my first monoprintings. (#14c)
After a surprise re-discovery of Elvis Presley as a singer and entertainer and quasi immediate conversion to complete fan, I made a series of Elvis portraits for the combination print with chine collé. Initially I made realistic colour choices (#15a), but an accidentally misaligned print in experimental colours made me realize that odd choices might work better with my understanding of his personality. (#15b)
I switched to more unusual colours to convey the impression of a “Broken Hero”, whose private self differed considerably from the publicly perceived persona (#15c and #15d). The chine collé element was used for the scarf to set an accent on his important stage accessory.
For the final series of four experimental combination prints, I printed an intaglio-wiped tonal collagraph plate over a painted monotype. This choice was the result of an extended experimentation phase trying many different techniques, and the subsequent attempt to map out the most successful elements for a coherent approach for the set of prints. The series juxtaposes cool colours (#16 a and #16b) versus warm colours (#17a and #17b), and light versus coloured backgrounds. I was fascinated by the simple yet elegant shapes of the tulips and how the collagraph over monoprint technique created an almost mythical atmosphere around the flowers.
>> Assignment 5 and tutor feedback
>> Part 5 Research and reflection