Update

Finally product a reletively clean print with no spots

I’ve spent the past couple of weeks attempting to build up print layers on multiple prints of the same image of a violin – apart from a slight deviation to play with the face of the Buddha which, as it’s a negative mask using white ink, is only really effective on black or coloured paper).

It has been a frustrating time as I’ve tried to perfect a spot free image each time. I used A3 photocopier paper as it was plentiful – having bought it at a car boot sale at a greatly reduced price. I had begun this part of the Printmaking Unit thinking to vary my paper more widely, as is suggested in the course text. However, I have had such patchy results that I abandoned this approach in Part 1 Project 1.

Yesterday I returned to part 1 and, using oil based ink, I was able to achieve the following images by first dampening the paper (Zerkal and cartridge) by soaking it for 10 minutes or so before printing on it. I had thought that this method would only be necessary for producing intaglio prints. I feel it’s useful for Monoprinting too if you are using oil based ink. If I had still been using water based ink, this would have been inadvisable, of course.

Ghost monoprint using oil based ink on dampened Zerkal Printmaking paper

Monoprint using oil based ink on dampened cartridge paper

Monoprint using oil based ink on dampened Zerkal Printmaking paper

Ghost monoprint using oil based ink on dampened cartridge paper

In the past week I gradually accumulated enough prints on which to experiment with second and third layers, allowing for “wastage” of those that may not make the grade.

Part 1 Project 2: Positive and negative masked monoprints

Part 1 Project 3: Two-coloured masked monoprints

Today I built up a third layer onto some of these prints in an attempt to create interesting textured effects

Above are a mix of monoprints using oil based ink on A3 photocopier paper. Methods include back drawing, the use of masks and bubble wrap to form impressions onto the inked plate before taking a print.

Tomorrow I shall do more of the same, using different colours and different objects for added texture.

Tate Modern: Matisse’s Cut outs Exhibition

Henri Matisse certainly knew how to use colour combinations effectively. The way he describes shapes with minimal style led me to come away from this exhibition clutching a swathe of postcards depicting this artist’s work. That, together with a feeling that my senses had been highly stimulated, made this a memorable exhibition.

We visited Tate Modern back in 2014 to see this. I remember enjoying it. But I now feel mystified when having just read the suggestion on the Tate website that Matisse was the inventor of a “new medium”.

“In his late sixties, when ill health first prevented Matisse from painting, he began to cut into painted paper with scissors to make drafts for a number of commissions. In time, Matisse chose cut-outs over painting: he had invented a new medium.” (Tate.org 2014)

For the sake of accuracy, did he not just take one that was already very much in existence and dare to lend it credibility by his highly effective adoption of it? It does beg the question, did someone not think of it before then? For how long have we had paper, scissors and paste at our disposal? Surely these were not invented in 1936 when this series of artworks were first produced?

As a creative species, it’s not altogether unrealistic to hint at the possibility of suggesting that the true evolution of that medium came about from an individual or a group of the female persuasion? Thus deemed “unworthy” by those incumbents of the lofty marble halls of the art world, that same group have gone on unnoticed and therefore unmentioned into the annals of time.

Though these “women scorned” may well have been unmoved by ego, disinterested in being “recognised” as artists, or simply figments of my own active imagination, I feel the need to mention the real possibility of their existence regardless.

I feel that the reason that Matisse’s cut outs have so much impact is that his wealth of knowledge around effective colour and tonal contrast, as well as his awareness of the conventions of composition, are so well established from his years of painting experience. His subtle hints at the nuances of the human form keep me highly engaged, both in the quality of the outcome as well as the use of the medium, especially given his physical condition at that time in his life.

Since writing this post I have been sent a link to The Economist “Stick ’em Up” article on “the Surprising History of Collage”. Evidently the world’s moved on since 2014, Doh!

References:

Samuel Reilly (2019) ‘Stick ‘em up! A surprising history of collage’, The Economist, 24 July. Available at: https://www.economist.com/1843/2019/07/24/stick-em-up-a-surprising-history-of-collage (Accessed: 13 January 2021).

Tate (2014) Henri Matisse: The Cut-Outs – Exhibition at Tate Modern, Tate. Available at: https://www.tate.org.uk/whats-on/tate-modern/exhibition/henri-matisse-cut-outs (Accessed: 13 January 2021).

Part 1: Project 3: Multi-layer Monoprints

I set out today to add texture to yesterday’s prints using white ink. It then occurred to me that I could print using white ink onto other coloured paper, as well as black paper, and aged sheet music.

Firstly, I thought it was time to cut out a new violin mask (as well as design a new mask, using a different personal object, to use in conjunction with, as well as seperately to, the violin mask).

I particularly like the white ink on black paper. The ghost print beside it unfortunately included a couple of spots. I may use these spotted prints for mixed media pieces at another time.

I think I can afford to go a bit darker on the sheet music print. I’ll wait until the mask dries and cut out the “f” holes. Or, I could use a seperate copy of my violin design and cut out just the “f” holes in order to best place them in a seperate colour on any future prints in this series.

Part 1:Project 3: Further multi layered Monoprints

I set out today with the following objectives, not all of which came to fruition.

Create multi-layered monoprints achieving diverse effects using textures, masks, and back drawing.

Complete blog post from yesterday by adding references.

Note todays successes as well as the “failures”.

Despite writing this list before starting the actual printing this morning, I blundered through a series of printmaking efforts with no real sense of what I was doing or why. Headless chicken mode has pretty much prevailed since starting Printmaking 1. The blame for this I had been placing squarely at the door of the fact that I had been awaiting the results of my first module (Drawing skills) and still did not know whether it was resolved and safely beyond the risk of necessitating resubmission.

However, having received my grade and been content with a mark of 60, it was difficult to switch off this hypervigilant part of my brain and really commit to Printmaking 1.

Excuses excuses.

The photograph above depicts my best efforts of this morning. The rest are either “also-rans” or in need of further layers.

Here they are as follows:

I think the last three prints in green were a bit of a mistake. I failed to follow my own advice and to use colours that rub shoulders on the colour wheel rather than so-called “complementary” colours which are opposite.

I think perhaps the above can yet be rescued as outcomes with the addition of a third colour. I need to think carefully about which colour to use. In fact, I need a complete colour-strategy rethink.

I also need to revisit the first item on the list – “Create multi-layered monoprints achieving diverse effects using textures, masks, and back drawing.” – and complete some fun experiments.

Research Point: Monoprints: Tracey Emin

Image from One Thousand Drawings (Emin, T. 2009)

Due to COVID-19 restrictions, The Royal Academy are forced to close their doors on The Tracey Emin and Edward Munch exhibition, as well as The Late Summer Exhibition. So, as with many others, having re-booked once already, I am yet again left disappointed. The following blog post may be heavily reliant upon internet research. Luckily though, I have a copy of Emin’s “One Thousand Drawings” (2009) on my shelf.

A hefty volume by anyone’s standards, the aforementioned book shows hours upon hours of spontaneous work. I feel Tracey Emin, setting her internal filter aside, has poured her soul out onto the page. Amid many crossings out, she writes; “I am the custodian, the curator of the images that live in my mind.” (2009) She goes on to say “Every image in this book…has first entered my mind – travelled through my heart, my blood – arriving at the end of my hand.” (Emin. T. 2009)

I like the fact that these drawings, rather than mere progressions toward a finished outcome, have been presented together as a collection of outcomes in themselves. Though there is little evidence of concern around anatomical accuracy – or of light and shade in terms of representational reality – light and shade of another kind are prevalent here. These images are illustrative of harrowing emotional experiences – drawing from “life” – rather than “Life Drawing “.

At first I thought it was just a rip-off book filled with crap drawings. But now, given the context, I view them differently. There is both an immediacy and a sense of urgent imperative about them that is almost alarming.

If we compare, the diners appear animated in one image. In stark contrast, the other depicts a similar scene from a different angle. We as viewers have been cast as the diner at the head of the table. All eyes are upon us. They regard us expectantly as though awaiting disappointment. It is as though Emin puts us in her shoes – to experience life through her eyes. As she feels the heat of social scrutiny, so do we – at least we can imagine.

Tracey Emin, in the face of opposition from critical eyes and tongues, takes her art seriously. I see that she has respect for her art in the way that she has expressed herself – in this case – through the medium of drawing, and back-drawn monoprints. Therefore, others have taken her art seriously. At least her publisher appears to have done. The galleries who exhibit her work evidently do, unless driven entirely by monetary forces.

I question whether an artist needs the approval of everyone in “The Establishment.” Then I find myself questioning the definition of that word/phrase. I wonder what it means to “establish” oneself as an artist. Is it just the ability to sell stuff? If so, Etsy and the like would count as “establishment”. Who exactly do we mean when we say that? Gallery owner; monied individuals; or is it all just smoke and mirrors? Perhaps it’s simply the ability as an artist – like any other celebrity – to kick up a right stink about ourselves?

References:

Emin. Tracey. (2009) One Thousand Drawings. New York: Rizzoli International.

Part 1:Project 3: More layers

I think the above print is my favourite so far. I like the way the red does not dominate here. It is more complementary to the other colours than those prints I pulled yesterday. I chose to use red again as I had a couple of earlier printed layers using yellow and wanted to use a colour closer on the colour wheel rather than opposites. I attempted to add some texture by impressing ribble board into the ink before taking this print. The effect maybe a little too subtle to see in this photograph.

The following, though not quite so successful, has some interesting texture. This is a ghost print. I had already taken two prints from this inked plate before removing the violin shaped mask so that it revealed a greater density of colour beneath the mask. Again, the red is rather dominant. But I plan to reduce this effect using white ink and random objects such as lace, bubble wrap and feathers as masks.

Later I will amass a few more base prints upon which I shall experiment also using objects found around the house.

This ghost print still a bit dominant over the first ghost print in yellow

I have continued to use oil based ink since finding it easier to work with due to drying times. But I also prefer it because it gives a better finish to the print. Rather than soaking in like paint, the oil based ink appears to sit nicely on the surface of the paper.

Part 1:Project 3: Variations using masks and multi-colours

The above print colour is far too dominant as it is. The feint blue and yellow of the initial layers can barely be seen. When it’s had a chance to dry I shall soften this effect with a white ink layer using items such as lace, doilies, feathers and leaves as masks.

The following print has stronger first layers in yellow and blue. Thinking about it I should have used an alternative colour combination for the initial layers so that my third layer could complement them both. I’m thinking of colours closer together on the colour wheel such as yellow and orange or green and blue.

I’m feeling a bit strung out as I am awaiting the results for my November assessment for Dr4drs. It’s taking a lot of my head space. They should arrive via email sometime this week. I have just 3.5 weeks before I need to post my first assignment on this module. It should be plenty of time, but I need to be more productive than I have been in order to meet this deadline.

The Status Quo

I’m feeling a bit inhibited. I think this is due to not having closure on my first module – Drawing Skills. I will receive my grade for this next week.

Also, it’s a bit “fussy” always ensuring there are no spots on my prints and that the edges are clean and well placed. I can understand the reason for this as it is a discipline. But I feel like a round peg at the moment. Squeezing myself into an uncomfortable space is not helping me to get into flow creatively. I’ve thought about this a lot. I dont want to switch modules as it’s a bit late for that. But my instinct is to take the prints that didn’t work as actual finished outcomes in their own right and cut them up for collage – a favourite medium/method of mine. It’s a messy and instinctive way of creating images which a like. It is in contrast to the immaculate, almost OCD approach required for Printmaking.

I shall persevere with the Printmaking module. It has the potential for being frustrating but fun. It is a big thrill to pull a print that meets the strict criteria for a finished outcome. I like a challenge. I was nearing exasperation for the first few attempts at creating prints that met the grade. Things are improving very gradually.

I’m aiming to submit for assessment in November 2021. This gives me roughly 6 weeks between assignment submissions, plus a bit of wriggle room. It should be plenty if I get the basics right now.

I officially started this module on 14th October 2020. I have yet to submit my first assignment. This I’ve scheduled for the first week in January. With a bit more effort I should make this deadline with passable coursework under my belt. I don’t feel quite as confident as I recall being this time last year. But it’s a different discipline. Perhaps I’m being too literal in my understanding of what’s required? Perhaps I could be having a little more fun with the process? Perhaps I had similar questions in my head at the start of the Drawing Skills module.

I think that this time next week I will know whether I’ll need to pause to rethink last year’s submission and that it is this which potentially holds me back from progression rather than any lack of ability.

I’ll update this “thinking out loud” blog post next week when I have received my grade for Drawing Skills.

Part 1: Project 3: Deliberate Mismatch

I really started to enjoy myself this morning as I peeled the print away from the deliberately mismatched plate to reveal a really quite pleasant effect.

As yet I am experimenting on cheap inkjet printer paper. I am a way off trusting my process with anything more expensive for now. I shall do a print run using different paper stock soon.

Another ghost print. This time blue on purple

I have cleaned up the blue oil based ink now. I am getting much better at judging how much I need for each print run. If I inadvertently squeeze out too much ink, I have plastic pots in which to store it until the next studio session. The next colour I will be using is reddish-pink. This could be quite effective on top of the yellow prints as follows:

Yellow print awaiting a pink/red colour overlaid on top

Part 1:Project 3: Two Coloured Masked Monoprints Revisited

So far, so good. I did leave a spot on the yellow area of this print. This, however was not due to dust but to a blob of something dried (now removed) on the wide brayer I used to help eliminate lines on the print. I had not used it in a while and had assumed, wrongly, that it had been effectively cleaned. In future I will need another wide brayer for prints with more than one colour as cleaning it part way through is not really practical.

The blob left on the print I did hope to obscure with the ‘f’ holes in purple ink. Unfortunately it is still visible.

Finger marks can be seen. Perhaps the plate requires more vigilant cleaning.

I took a ghost print but it is so feint as to be barely discernible. However, there are clear finger marks visible on the top left corner. I suspect these were on the plate prior to my inking it. I am beginning to realise why prints are so expensive. All this trial and error uses untold amounts of materials and time. It is immense fun though. Perhaps I could use this mistake to produce a deliberate effect?