I’m pleasantly surprised to find that, once again, my work has been, not only acceptable, but greatly appreciated by my tutor. This is due in no small part to the scale I have chosen. The test pieces were roughly A1 in size. I find it more satisfying to use a broader “canvas”. It at least gives more scope for space between objects, as well as for the objects themselves.
The image above was one my tutor particularly liked. She thought the spacing and arrangement of the component parts of the plate were in keeping with aesthetic value of this collagraph print method, in that the “less is more” principle has been adhered to. This was a tip she imparted at the end of the previous feedback tutorial. It is one which I kept in mind, as the temptation is to keep on sticking bits onto the plate ad infinitum.
Again, I need to draw more from life. But what I do put into my sketchbooks has been reflective on the processes I’ve employed, which is useful. However, I could say more about the “whys” as well as the “how”. This unpacking of the reasons I’ve made certain choices along the way will be useful for communicating ideas in other areas. It’s a new language for me, this art speak.
The next part of the module is “Chine Collé Personal Project. My tutor’s tip this time is to use decorative papers that are appropriate, or somehow complementary to, the subject matter chosen – not purely to make it look pretty – but because it adds to the subject in some way, or highlights a message I am attempting to convey.
Action points:
- Look at Guardian art reviews and learn from language used to discuss artwork
- Maintain drawing/sketchbook practice
- Be Reflective on the “whys” of the work as well as the “hows” of the process
- Be more self critical and evaluative
Maureen Walker's Introduction to Printmaking Blog 