Category Archives: Coursework

PM1:Project 9:Experimental mark-making on Lino

OCA PRINTMAKING 1 : PROJECT 9
EXPERIMENTAL MARK MAKING ON LINO: CRITIQUE

Techniques used

Square 1 : In this square I used a I cm square sharpened chisel. A number of techniques were attempted with the chisel including scraping with the corner of the implement and twisting the blade.

Square 2: Coarse sandpaper rubber in a back and forward motion in this square.
This imprint was difficult to pick up when the plate was heavily inked. Where it was visible, it reminded me of rain or mist.

Square 3: Coarse sandpaper was used in this square but had to be reworked rubbing harder than before in a circular motion to create a visible imprint. This impression was still hard to pick up when the plate was inked, but where it was visible, it reminded me of seed heads or tumbleweed.

Square 4: The point of a Stanley knife was used to create the effect of cross hatching, with the blade drawn back and forth. The marks were very delicate and were visible best on the first inking run. As more ink was added, it was very easy to lose sight of the marks.

Square 5: The blade of a Stanley knife was used in a twisting motion. This reminded me of animal footprints. I thought that this technique had excellent potential for further work in a snowy landscape.The marks were easily visible.

Square 6: For this square I used the Stanley knife to create small puncture marks. Again this technique has he potential to be used to create the impression of snow in a landscape. The marks were easily visible.

Square 7: Here I used a 6 cm chisel edge twisted. I thought that this technique had the potential to create marks reminiscent of birds in flight. The marks were visible but not too clear.

Square 8: In this square, a pointed chisel was used. This technique created marks reminiscent of animal prints. The marks were clearly visible.

Square 9: Here I used lightly grained sandpaper. The marks were very hard to see in printing and were not visible even with very light inking on fine tissue paper.

Square 10: In this square, I used the points of scissors in both vertical and horizontal scraping motion. I had to used larger scissors to create visible marks but liked the final marks made which could be used to Crete crosshatching for creating tone within a print.

Square 11: In this square, the points of scissors were used. These created lovely fine marks with the larger scissors which could be used for plant forms for example, grasses

Square 12: In this square I used the pint and the edge of a chisel. The marks were reminiscent of animal prints, pebbles or snow.

Square 13: Here a chisel was used in a repeated turning motion. These were visible on first inking. The marks made, reminded me of tumbleweed.

Square 14: Here, a chisel was used to score the Lino with its edge. This created the effect of very fine plant forms and could be used to represent grasses or fine seedheads. These marks were only just visible on the first inking and we’re hard to keep as more ink accumulated on the Lino.

Square 15: In this square, I used the corner of the chisel to create marks which created lovely fine lines which could be used for plant forms.

Square 16: Here I used the serrated edge of a chisel to create marks which could be used to create plant forms.

Overall Comments on the Exercise

The most obvious observation was that many of the marks were reproduced best on the first inking of the plate. Following further inking, many of these marks became very difficult to see, particularly in squares 13-16.
Light inking of the Lino, prior to the addition of a grid to demarcate the square created lovely delicate effects which could definitely be used in abstract work. My own plate reminded me of the Galaxy, where, in this context, the marks which looked like plant forms on the grid assumed a likeness to shooting stars. The print created the suggestion of muted light reminiscent of the Milky Way.

Some of the techniques explored in this project could be used to add variety to existing mark making, for example adding shading and tone to figurative work.

I think that it would be difficult to maintain consistency in the appearance of a series of prints, as successive inking would result in the loss of definition in many of the fine marks.

Choice of Paper

I experimented with creating prints using a variety of papers including: brown paper, coloured cartridge paper, and black and white tissue paper. These were added to my sketchbook.

I noticed that for very fine marks made with the implements I had chosen, the finer the paper, the better the impression obtained.

Choice of inks

Until this project, I had used water soluble inks as it is difficult to work with oil based inks in my working environment. Where water-based inks were used, I noticed that the use of white ink on black paper was very effective in creating the effect of a snowy landscape. I definitely thought that this had great potential for further work.

White ink on black paper was effective even as a ghost print, creating the impression of mist or a frozen window.

In the previous project I used an overlay of white at the end of the layering process and really loved the snowy effect it created.

 

Print 1: “Cosmic Wonder”

This print was created from the mark-making exercise with the addition of  grid marks in pencil on the Lino, without these being transferred  in the cutting process. This allowed a more unified abstract result to be obtained using a selection fine marks across the whole page. This technique works well in creating the illusion of a cosmic vista.

I think this works best using black ink on white cartridge paper. The marks remain grainy, creating an illusion of distance that is felt when looking at stars on a clear night.

I loved how the uptake of ink on the paper is variable across the page, with the sandpaper altering the surface slightly in a way which reduces the amount of ink on the page. I think this is crucial for the image obtained.

I was pleased with the edges of the print and the cleanliness of the the edges. I do think that it would be very hard to reproduce the same effect with consistency throughout a print run as the marks are so fine that they could easily be lost.

Print2: “ Snowy morning”

This print was created from the test print using water soluble white ink printed over fine cartridge paper. The addition of the grid suggested a window pane and the variety of marks were reminiscent of animal prints in snow. The use of white ink on black paper works well in this context.

I was pleased with the level of reproduction of marks achieved in this print and managed to create sharp edges with no smudges with this imprint.

I would like to experiment further with the use of white on black paper. It is a combination which works well. The effect is different from that created by printing black over white paper, with a more opaque effect achieved which is more suggestive of the snowy landscape. The use of black paper allows a more grainy effect to be created.

 

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Positive and negative masked monoprints

Negative print using positive mask:

I found using the positive mask easier as the process seemed more intuitive. Placing the mask was simpler as it was easier to handle.

My first print was again too pale as I did not use enough ink and think I did not spend enogh time burnishing the print to ensure the ink transferred properly from the plate.

Shere Khan
Shere Khan: Negative print using positive mask: 1

 

Shere Khan
Shere Khan: Negative print using positive mask: 2

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Shere Khan : Ghost print

 

 

still life Monoprint painted directly onto glasss
still life Monoprint painted directly onto glasss

A series of still life Monoprints were created using acrylic paint and medium to create ink. This process slowed down the time available for painting the image directly onto the glass and eventually I started working with block printing colour which seemed to give more handling time. As I worked through the printing process it became clear that I Was  not applying the paint thickly enough to define the image and the background. Subsequent prints were created using more ink, leading to a better result.

Still life Monoprints ghost print
Still life Monoprints ghost print

Project 1 Simple monoprints

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First attempt at painting directly onto the glass plate using acrylic with added printing medium . A bit chaotic adding in the medium to the inks without everything drying out. Needed to add more paint and a bit of water to the mix. Liked the strong colours obtained in the first print but the shadows looked strange. Think more planning is needed to make the image more credible but like the nice loose feel of the print and the colours.
Set up a second plate and added a flower to the still life for this print and more colours. Applied the background colour with a flat palette knife and blended with a brush to shorten the time to apply the paint. This worked well and I managed to take a ghost print from the same plate