Part 1: Project 1: First Monoprints

Looking at the equipment list at the start of the monoprint section, I see I have most, if not all of the items already. All I need do is select my items for a still life.

For this Exercise, I chose items that had relevance emotionally as well as being interesting forms. I chose a sculpture of a singer which my sister had created for my last birthday; a framed photo of my partner which was taken whilst out walking in some woods; and a pine cone which represents my enjoyment of the countryside. These I arranged on an old table I had used as a painting palette. This which was scuffed and marked with paint splodges and coffee rings.

After some consideration I decided to replace the hard edged photo frame with a Buddha head which my brother had rescued from a skip one day on his way to visit me. I found this object to be more sympathetic and complementary with the other two remaining items.

I had prepared two pieces of perspex for this experiment, but I wasn’t completely happy with the edges of these as they were rather irregular. I wanted nice crisp straight edges to my print so used some copper plate I’d forgotten I had which I found languishing in the bottom of a drawer.

I chose my three colours – bluish purple, gold and green. The first print I took from the inked plate barely registered on the newsprint as the ink had dried before I could lay the paper on top.

I reapplied the ink and took a second proof. This was an improvement, but I feel that I will use oil based ink next time as it is slower to dry. However, the test prints were useful in that I was able to see the effects of the brush stroke textures and imagine how this method could be effectively manipulated to interesting effect.

I think I shall also choose more complementary colours for the next experiment. Perhaps gold, turquoise and pink. Also, the paper could have been more central and level on the print plate. But I am pleased that I managed to avoid leaving smudges or finger marks around the edge of the paper. I had taken the advice to wear gloves which I cleaned between occasions of touching either the plate or the paper using sanitizing gel. This seemed to work rather well.

Pre-Course Playing

I painted over one of a series of pre-prepped wax crayon layers in a sketchbook using cheap childs’ paint sticks. I then took another waxed and painted page from a different sketchbook and cut interesting curved shapes from it which I then stuck down on the page.

The purpose of this was to try out different colour juxtapositions as well as layers of different coloured wax and paint to see the effects I could achieve by scratching into the surface.

So far, these are just small scale experiments. I hope to use what I’ve learned about good mixed media methods and different colour combinations on something a little larger in scale later on.

The following images are prepped pages in my sketchbook for further experiment later on.

Playtime Pre Drawing 1: Exploring Drawing Media

This last picture is of a wax crayon layer covered with gouache paint. The surface is awaiting being scratched. But first I may add another wax crayon layer and then a further paint layer.

Then to scratch.

The ones above it are largely instinctive gestural mark-making using wax crayon. These crayons were designed for childish toddler-sized hands, so had a nice straight edge to them so they could easily be dragged across the surface of the cartridge paper pad. I shall consider whether to paint over them or leave them be.

Project Between Courses

So that I avoid stalling in my personal art practice, I came up with an idea to create some prints of fish – mackerel – to be specific. I wanted to try out my brand new device, a Jack Press, as I call it.

I started with a spot of scribbling:

Then I copied these sketches onto two pieces of lino:

I cut these out and stuck them, together with the water effects, onto a piece of board:

I checked the central point against the frame intended to use for the finished print

It had been my intention to create a reductive print. However, I thought the lower fish looked more like a porpoise than a mackerel, so decided it needed changing.

Making certain I would have sufficient lino left over for a second plate, I trimmed off a slab of lino from a large piece, giving myself enough to recreate the long nosed mackerel.

I then transferred this print onto the second lino print plate, lining it up on a registration jig I made for the purpose.

Now it’s a case of waiting for the transferred image to dry so that I can cut into the second lino plate.

I thought about each stage carefully before making a start on any cutting etc, as I did not wish to mess up at any stage. This was especially true at the point of deciding to scrap the “porpoise” fish and redo it. If I had carried on regardless of being unhappy with the draftsmanship this exercise would have been one of experimentation alone, and would have been unlikely to result in a satisfactory outcome. As it stands, it has potential ,I feel.

Drawing 1: Exploring Drawing Media: Anticipation

After writing this post and having had a a rethink, I have decided to go ahead and do Introduction to Printmaking before the other core drawing unit

It was a close run thing between this course, for my second module, or “Introduction to Printmaking”. I chose this one as I’m hopeful that there will be elements of printmaking included within the content. Not the I am a stranger to printing. I have done collagraphs and lino/woodcuts in the past. At the moment I am working on a piece to put on the wall of the “Beautiful Day Cafe”, a venue in Hatfield in Hertfordshire, specialising in yoga and life drawing sessions, plus the best vegan chocolate cake I have ever tasted. The proprietors are lovely people and they kindly offered me some wall space to sell a piece of work. The following is the embryonic stage of the process which I hope to conclude by producing at least one complete print by Friday, as I’m scheduled to go to a life drawing session there that evening.

My intention for these plates is to cut around the outlines of the fish using scissors. I will then spray-glue them both to a separate hardboard sheet, one above the other. Between them I plan on adding textured water effects and possibly some water weeds.

Once the print plate has been satisfactorily assembled, I will use my brand new (at least to me) “Jack Press” – a recent acquisition in my studio.

It’s not guaranteed that this fish-inspired composition will actually work. But it’s a fun way to try out a new toy. Also, to add further challenge/complication, I’m going to create it as a series of reductive prints with pale green, blue and black ink.

I’ve been flipping through issue 12 of Pressing Matters (2020) and it gives great food for thought, including articles on printing artists, processes, and workspaces. Inspiring stuff.

References:

Kennedy, J. (2020) Pressing Matters (Issue 12)

The Journey Begins

Thanks for joining me!

Good company in a journey makes the way seem shorter. — Izaak Walton

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