Category Archives: Project 14

Research: Chine colle printing

Introduction

For Project 14, I was inspired by the work of printmaker Katie Jones. A link to the artist’s website is provided below.

Project 13: Combination Mono and linoprints: Linocut Design 2

I selected a small collagraph titled “Separation Lines V” by Katy Jones for my research.

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Separation Lines V” 10×10 cms . Collagraph with chine colle: Artist, Katherine Jones

Process
The artist has used a number of different approaches in making the plate for Separation V, using a cardboard baseplate with a range of materials such as masking and parcel tape to develop the surface of her printing plate. She has also cut into the surface of the plate and to create further tonal variation and added texture through the addition of glue to the surface of the work.
The plate was coloured by hand and tissue layered across the piece, extending beyond the main picture plane, creating a rich sense of layering , with both colour and texture variation.
Composition
For Separation Lines V, a square format has been used which works well with the small scale and abstract nature of the work.
Colour
The artist has made use of a palette of primary colours which creates a striking image, with the placement of the yellow segment just off centre to the right adding a central point of focus to the work. Layering has muted the initial colours, introducing a range of rich greys and browns across the picture plane, adding depth and interest to the work. I found this a particularly interesting aspect of her work. In looking at the work I have a sense of looking through the darker layers into the light beyond. The variation in colour and texture helps keep the eye of the viewer moving across the picture plane, creating a really interesting piece.
Relevance to my own work
In projects 13 and 14 part 1 I tried to achieve a sense of looking up at the light from below the surface of water. I tried to retain the effect of light in the centre of the prints and to add depth and texture to the perimeter of the work, keeping the central focus around the light zones.
In project 14 part 3 I felt that this method of working would allow freedom to experiment in my own practice. In my own work for project 14, I used linoprinting layered with tissue and additional collaged elements made from cut coloured paper.

References
1. Hartill, B. and Clarke, R. (2005) p. 70. Collagraphs and mixed media printmaking (printmaking handbook). London: A & C Black Publishers.

2.

http://www.katherine-jones.co.uk/pages/printmaking.php

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Project 14: Investigating combination printmaking and incorporating chine colle collages

Design Choices

For this project I have explored some contrasting ways of devloping the migration theme. Part 1 builds directly on the images and prints carried out for a project 13.

Part 2 uses the mask prints from earlier work as a vehicle to explore further the use of chine colle.

In Part 3 I have taken an abstract experimental approach devloping a number of collage prints which use migration as the theme but explore how this can be expressed using abstract elements.

Part 1

I selected Design 2 of the linoprints prepared for projects 13 and 14 for the addition of chine colle elements to the prints.

A number of approaches were taken:

  • the addition of a sheet of coloured tissue paper the same size as the lino over Bread and Butter paper to add colour where the white of the paper would have been.
  • the addition of printed collage paper to a combination monoprint/lino print
  • the addition of tissue paper collage to a print

 

Tissue paper collage using preprinted paper over two different variations of Design 2 combination Mono print/linoprint 

 

Part 2 Experiments with collage and chine colle

I experimented with adding a tissue paper to small mask linoprints made earlier in the course. Initially I wanted to link this to the theme of migration, with masks representing sureveillance and duplicity. However, after printing I did not think this is working well in the context of my theme. It did provide a valuable opportunity to experiment with the techniques of chine colle and to strengthen my confidence in using the method.

This series allowed me to experiment with variations in both texture and colour. I liked the range of colour possibilities achieved but experienced problems with the Caligo Safewash inks drying on my prints.

Some of these prints are displayed below.

 

Part 3

For Part 3 I wanted to devlop an abstract approach the topic of migration, experimenting with the possibilities using a collage -based approach. I took as my starting point some of the shapes found in little collage blocks constructed earlier in course. These were inspired by a visit to the transport museum, devloped from industrial components used in shipbuilding. I thought this was very fitting as much migration in recent times has taken place in boats. I simplified the elements into simple line shapes and devloped some simple lino prints using these. these were printed up in a number of different colours and formats. I experimented with printing over tissue, adding tissue over prints and adhering light papers to heavier ones.

The devlopment process is shown below:

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Collage blocks which were used to develop linoprint series

IMG_1038.JPGLine based linoprints devloped from abstract collage blocks above.

I then experimented with these shapes using tissue and linoprint to create a number of collages. I incorporated bird and fish elements to the work to represent the idea of taking flight/ migration. I experimented with placement of the linoprints to suggest elements such as figures (central collage above), and boats.

Small experimental collages used to devlop the final collage (below).

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Final collage: “Leaving”: mixed media

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Glasgow Coat of Arms: do we need an update to represent our increasingly multi faith culture ?

Looking for potential symbols with “Faith” as a starting point

As a starting point for Part 5 of PM1, I visited the St Mungo Museum of Religious Art and Life and Glasgow Cathedral, both located at the heart of the historical Christian diocese of Glasgow. The museum seeks to help understanding of all faith groups and to act as a focus promote dialogue and engagement across religious divides.

Both places display works of art related to both Christian and other faith groups. The images below show Glasgow Cathedral in the background with a “Clooty Tree” installed in the Japanese Zen Garden in the gardens of the museum. The Clooty tree is usually found at places of spiritual significance and reflects the tradition ( found in many faiths) of tying cloth to trees to signify hopes and prayers. This motif has potential within a multi-faith context as it is used by several faith groups

The picture to the right includes the specially made lamp standards using the story of the Bird the Bell the Fish and the Tree from the legend of St Mungo.

Glasgow Cathedral seen from the Japanese Zen Garden with “Clooty Tree” in the foreground ( right ).

I was looking for imagery from amongst the various exhibits which might form the basis for an alternative crest. Below are some of the religious images of significance to the various faith groups featured.

From the left:

Hindu God Shiva as Nataraja ( Lord of the Dance): 

Hanukka  Lamp: From the Jewish religious tradition

Sikh Emblem

All of these emblems have strong visual impact and could be incorporated into the theme.