Tutor Feedback Part 5

 You have submitted a digital portfolio for your response to your last assignment, congratulations on meeting the deadline. It has been a very short turnaround for a complex aspect of printmaking.

I haven't actually seen any of your prints in the flesh but we have managed well throughout covid to develop your printmaking and move forward.

You have favoured collagraph and enjoy the layering of textures. Your next challenge is to develop the sophistication of your work as you move forward through the units of study towards your degree.

This last part of the course mixing collagraph and chine colle was one I was very excited to do. As a fan of mixed media in general, layering, textures and mark making I felt this ticked all the boxes and I looked forward to creating something special.

For this task I used a mixture of A5 sized prints and A3 sized. I wanted to zoom in on the frosty spider webs and show the lights through the lacey webs. The materials I chose however didn't really give the overall look I was going for. The tissue papers which I thought would work well for the lights were very difficult to handle and didn't stick down despite multiple attempts. I tried to also include some  gold leaf but again it was very hard to handle and didn't give the desired effect.

I agree with Michelle that given the extra time I would have tested these materials out more thoroughly and made some test plates to get the right combination of materials to create a more delicate and clearer print.

Artists to look at: 

Brian Hodgson - 

'23 Days of Absorption' is an incredible etching, made on location in Snowdonia. This etching has atmosphere, detail and draws you in to its crevices. The amount of detail that Hodgson has managed to create in this piece is incredible and how he managed to do it on top of Snowdon is astounding.

Briandhodgson.co.uk. 2022. Brian D Hodgson - artist. [online] Available at: <http://www.briandhodgson.co.uk/pages/prints.html> [Accessed 29 January 2022].

400 Years of Cut and Paste Exhibition -

Unfortunately this exhibition was finished by the time I looked into it, however there were some images from the exhibition shown on the website page. Collage is something I have dabbled with in the past which is why the Chin Colle techniques interested me so much. Incorporating textured papers of different kinds, colours and materials can really enhance an artwork in the right context.

National Galleries of Scotland. 2022. Cut and Paste | 400 Years of Collage. [online] Available at: <https://www.nationalgalleries.org/exhibition/cut-and-paste-400-years-collage> [Accessed 29 January 2022].

Katherine Jones -

Jones' prints are stunning and reflect a combination of intricate details and bold colours to convey her exploration of the human struggle between danger, vulnerability and security. Jones' strong themes address serious issues through her use of imagery. I can relate to this, in that my work aims to share my perspective of the world, specifically in nature through the lens of my Christian faith.

 Printroom.studio. 2022. Katherine Jones | Print Room Studio. [online] Available at: <https://printroom.studio/artist/katherine-jones/> [Accessed 29 January 2022].

David Hockney -

Hockney's use of his iPad and iPhone combine bright colours with bold lines, a sketchy look that he has used for floral themes as well as portraits. I have discovered drawing on the iPad for idea planning is just as fun and useful as creating finished pieces and plan to continue to use this method in my general process.

Hockney.com. 2022. iPhone : Digital : Works | David Hockney. [online] Available at: <https://www.hockney.com/works/digital/iphone> [Accessed 30 January 2022].

I have since re-written my artists statement with the aim to word it in a way that is more of a statement and less biographical as requested.

References used to help me in the re-write:

The Art League. 2022. 8 Artist Statements We Love - The Art League. [online] Available at: <https://www.theartleague.org/blog/2015/08/24/8-artist-statements-we-love/> [Accessed 30 January 2022].

ARTDEX. 2022. The Complete Guide to Writing an Artist Statement in 2021 – ARTDEX. [online] Available at: <https://www.artdex.com/the-complete-guide-to-writing-an-artist-statement-in-2021/> [Accessed 30 January 2022].

For this final project I used my sketchbook to test the papers I had collected to see if the glues I was using made the colours bleed. I also sketched out ideas for the composition then moved onto photography and the iPad sketches. The plates were experimental and should have had more testing as the final result was not as intended. However there were areas of the larger print that I really liked such as the rice speckles. The web was not clear and the lights did not show through as intended. Had I planned and tested this more, it would of perhaps led to a more successful result.

I continue to read Guardian art reviews to help my knowledge and understanding of writing academically.

Tutor Feedback Part 4

You have submitted a digital portfolio that explains your response to collagraph well. You are working well with very short deadlines to complete by 9/1/2021.

Collagraph can be very surprising at what can 'happen' by simply gluing, sticking objects and surfaces on a piece of mountboard. It sounds simple, but it can lead to incredibly sophisticated prints or disasters!

It's a quick process to make a plate and can lead to expressive results.

Collagraphs was a fun section of the course to undertake. I enjoyed finding objects to glue down to my test card and the results that came about were fascinating to me. Even the simple print from this plate was interesting and effective.

Mark making is something I am very interested in, along with textures and the results that came from my experiments were exciting. 

Using my iPad to create expressive abstract landscapes was another enjoyable planning process. I chose to do these partly out of a desire to see if it worked and also I felt like I would give me more of an idea of how I wanted my final collagraph print to look. The sketches were quite striking and are something I would like to make more of in the future. My final print was successful to an extent but there were areas where the elements on the plate were raised too much and so there were white areas where I would have preferred colour.

Sketchbook work for assignment 4 was mainly the iPad sketches, I didn't really understand how to plan these collagraphs as I was simply using a more intuitive approach to choosing materials and making marks in the different pastes.

Artists to look at:

Shelley Burgoyne -

Burgoyne's collagraphs are very detailed and in some ways delicate. I appreciate her use of detail and the interesting patterns that have formed from her plates. The layers shown in sequence give a good example of how collagraph can be developed in a more sophisticated way. Burgoyne's work is interesting to see from a collagraph perspective but are not the kind of style I am aiming for.

Shelleyburgoyne.co.uk. 2022. [online] Available at: <https://www.shelleyburgoyne.co.uk/portfolio.html> [Accessed 29 January 2022].

Sandra Blow -

'Space and Matter' by Sandra Blow is a beautiful example of her abstract paintings created from discarded materials, paint and charcoal. This piece in particular really caught my eye because of it's natural, earthy quality. The movement and energy in this artwork reminds me of crashing waves onto rock faces on a stormy, dark day. Discovering that Blows was one of the pioneers of the British abstract movement is exciting and very inspiring. Blows use of materials create texture within the painting and adding to the dramatic atmosphere. Layering is something I enjoy with  my own work and looking at Blows work is an encouragement to explore nature and abstraction further.

Tate. 2022. Sandra Blow 1925–2006 | Tate. [online] Available at: <https://www.tate.org.uk/art/artists/sandra-blow-770> [Accessed 29 January 2022].

Tate. 2022. ‘Space and Matter’, Sandra Blow, 1959 | Tate. [online] Available at: <https://www.tate.org.uk/art/artworks/blow-space-and-matter-t00355> [Accessed 29 January 2022].

Prunella Clough - 

Clough is a complete contrast to Blows, with more fine details, linework and intricate detail. These works make me feel more on edge and uncomfortable, gritty and like an itch I can't scratch. These works feel cold and sterile. Very opposite to the art I usually enjoy.

Tate. 2022. Prunella Clough 1919–1999 | Tate. [online] Available at: <https://www.tate.org.uk/art/artists/prunella-clough-921> [Accessed 29 January 2022].

Response to feedback is now all in place and I am updating some of my log to include what I have learnt about how to write more academically.

Tutor Feedback Part 3

 Assignment 3 focuses on Life Forms. You have sent a digital portfolio that explains your concepts and development well.

Reduction technique is Printmakers marmite love it or loathe it! Picasso invented this process because he liked the immediacy of developing an image on the same block rather than separate blocks of lino. I attach a video from the British Museum on his lino process.

You are beginning to interweave the importance of personal voice into your text and making progress with the complexity of printmaking techniques. Often questions beginning with W are worth asking - Why am I making this work?

What am I trying to say through this work? And then why again. What does the work imply to a viewer? Where can I go to undertake research? What barriers do I need to overcome? What would improve the work?

Linocut Artist | Boarding All Rows. 2022. Picasso's Linocuts and His Reduction Linocut Technique — Linocut Artist | Boarding All Rows. [online] Available at: <https://www.boardingallrows.com/blog/picasso-reduction-linocuts-technique> [Accessed 29 January 2022].

I found reduction lino printing incredibly difficult. The above video showing Picasso's technique and how he created such intricate prints with accuracy within the layers at such an old age is amazing. The end print is so vibrant and interesting. Lining up with print layers, even with guides was really difficult. Although I achieved several colours in one print, the colour palette did not work and the detail was not how I envisaged. Further planning and testing of colours would have improved the final result and had I had the time more practice would also have benefitted.

My personal voice is starting to come through more in this part of the course, I spent more time thinking about what I wanted to say for the assignment piece and did work through different compositions and colour tests first. However the inks do not behave the same as digital colours and this really showed at the end.

Damian Hirst - Butterflies:

Michelle suggested looking at Damian Hirst's series on butterflies. Hirst used butterflies to symbolize death and resurrection similarly to my own symbolism for my reduction print. Whilst Hirst's butterfly works represent his personal beliefs, mine will always be attributed to my belief in Jesus Christ, His death and resurrection and what that means for me as a believer. I think this is where my personal voice starts to show through. Whilst Hirst's installations were quite distressing, my own artistic voice aims to present my beliefs in a more subtle, gentle way. My strong faith underpins this assignment and although it didn't result in the look I was hoping for, I feel the symbolism is there and if I could develop it further it could be a strong spiritual print.

the Guardian. 2022. Damien Hirst's butterflies: distressing but weirdly uplifting. [online] Available at: <https://www.theguardian.com/environment/2012/apr/18/damien-hirst-butterflies-weirdly-uplifting> [Accessed 29 January 2022].

Using tools to create marks into the lino was a very enjoyable task and ended with some effective results. Mark making in general is definitely a theme in my work overall and learning about these techniques is an interesting addition.

Drawing from observation to strengthen my final prints is definitely something I am becoming more used to doing. Using a sketchbook isn't a habit I was used to before starting this degree but it is something I have always wanted to become more natural at doing. As this course has gone along I have aimed to include more sketchbook work but still fall short and am working on making it more of a habit. Working a subject over and over again is also something I find very difficult. I tend to work on something for a little while and then feel the itch to move on without exploring it too deeply. This is another area to improve on.

Artist's to look at:

Derek Sprawson -

I found Sprawson's work very uncomfortable to look at, obscure and I don't really understand it. Being so different from my own work and yet claiming to be based on Sprawson's faith I find it hard to see that being expressed looking at the images in this gallery. I've always found art installations and live art to be too obscure for my taste and would probably class myself as more of a traditionalist.

Stillunresolved.org. 2022. Derek Sprawson. [online] Available at: <http://www.stillunresolved.org/index.php/associates/derek-sprawson> [Accessed 29 January 2022].

Hughie O' Donoghue -

'Brotherhood of the trees', a series of paintings by Hughie O' Donoghue is definitely more up my street. Expressive, bold, abstract paintings with thicker line work and softer areas. O' Donoghue's exhibition in Westminster Abbey is quite striking. The colours used mirror the colours of the stained glass windows and seem to merge with the space beautifully. 

Hughieodonoghue.com. 2022. [online] Available at: <https://www.hughieodonoghue.com/> [Accessed 29 January 2022].

Peter Wray -
The initial link sent had expired but I found Wray's work on another gallery website. 'Silent Watchers', oil, mixed media on board is a beautifully textured painting. The layers look so tactile, you just want to reach into the screen and run your fingers over them. The layers, textures and marks in Wray's works are very interesting and definitely a style I admire.

Riverbankgallery.co.uk. 2022. Peter Wray. [online] Available at: <https://www.riverbankgallery.co.uk/peter-wray/> [Accessed 29 January 2022].

As before developing my sketchbook work, personal voice and use of language when writing are still areas I am working on.

Tutor Feedback Part 2

Assignment 2 focuses on introducing you to relief printmaking using linocuts in response to Place.
You have uploaded a clearly organised log enabling me to follow your thinking and progress clearly, thank you.
You are having to work intensively and quickly to meet the deadline and I admire the diligence in which you are approaching all the tasks. You are treating your work and this course with great sincerity and rigour. You are making great progress being as you are new to Printmaking.

 I began part 2 lino printing with great enthusiasm and excitement. The first task to test out the cutting tools was very interesting and I was so pleased with how my prints of these came out. They reminded my of Zebra and Tiger markings with the boldness of line and the black ink. The yellow version also was quite successful. I used an A4 sheet of lino and Schmincke inks.

Michelle referenced the amount of ink I was using and I was using a fair amount but I think the limitation of my small rollers and inking plate made the quality of print harder to achieve. I spent a very long time building up layers of ink and re-printing many times over  with a lot of pressure and still couldn't get a perfectly even print, which was very frustrating.

For task 2 project 6 Michelle referenced adding more text alongside my images to develop my personal voice. I have gone back to this and updated it.

I really enjoyed experimenting with different colour palettes for my banana leaf lino reduction print. I started with a lovely green and burgundy with black and then tried out brighter colours. Michelle mentioned that these would really pop if printed larger such as A1. With the struggles I was having printing small, I couldn't conceive printing so large but agree they would look quite striking.

Michelle suggested reading art reviews on the Guardian to try to understand how to write more academically. I made a start doing this, but at this point, this type of writing was very unnatural for me and I was having a hard time getting my head around it.

the Guardian. 2022. Art | Art and design | The Guardian. [online] Available at: <https://www.theguardian.com/artanddesign/art> [Accessed 29 January 2022].

I have also now added links to my responses to tutor feedback as requested. These can be found in the 'Categories' drop down menu on the right side of my learning log navigation.

I think I naturally take in influences from other artists, techniques and thinking and apply them to my own work but have a difficult time articulating that into words at this point. This is something I am aiming to improve during the course.

Artist's to look at were:

Jeanette Barnes - The energy of Barnes' drawings really inspired me. The marks reminded me of my initial experiments with painting with the ink on the plate in part 1 and the interesting marks that came out of that. Working with energetic marks is definitely something that I do in my personal abstract paintings and also in my sketching process for my illustration work. I felt that was harder to achieve with the lino printing but something to consider for future prints.

JEANETTE BARNES. 2022. Urban Drawings. [online] Available at: <https://jeanettebarnesart.co.uk/urban-drawings-2/> [Accessed 29 January 2022].

Dale Devereux Barker -

Barker's lino prints are a combination of both boldness and controlled lines. The bright colours combined with the nature theme work really well and show what can be achieved using these different techniques together. The flower series Barker has produced are quite inspiring, they look quite graphic and pop art in style. This is something to consider if I want to explore in the next part.

Daledevereuxbarker.co.uk. 2022. [online] Available at: <https://www.daledevereuxbarker.co.uk/linocuts> [Accessed 29 January 2022].

Simon M Smith -

Smith's work is very inspiring to me. I have worked with mixed media in past years with my painting in acrylics and used collage papers of varying types. I love the more natural colours Smith uses and the detail he has used for the flowers. Leaving some as outlines and some as solid shapes, these are really beautiful, blending detailed botanical drawing with a pop art, bold colour palette. This is definitely a style that enjoy and feel it is more in line with my own personal work.

Gallery57.co.uk. 2022. [online] Available at: <https://www.gallery57.co.uk/simon-m-smith> [Accessed 29 January 2022].

Pointers to improve were developing my critical and reflective writing and use my sketchbooks more in my process. I think due to the speed I was needing to work to, I did neglect my sketchbook planning stages and felt very pressured to complete work as fast as possible. I aim to improve this next time and will update my writing to add more detail.

Tutor Feedback Part 1

 

Assignment 1 focuses on introducing you to Printmaking and Monoprints. This is an exciting start to your printmaking course, I can see you have worked with integrity and diligence questioning the quality of your prints and the technical aspects of Printmaking.

You have a well organised and clearly labelled body of work that has been uploaded digitally making your progress easy to follow, thank you.

Your work submission shows a great deal of care and planning. Learning to print is not easy, but out of quantity comes quality!

You have a lot of prints that demonstrate your potential as a very good inventive printmaker.

It has been a long time since I've done printmaking and I was curious to work through this course to see if this kind of work would be a good fit for me. Having been a mixed media painter for many years my interest in the fine art side led me to choose this course as my final unit for level 1.

I seemed to get off to a good start and it was nice to see that my composition skills are improving and my use of sketchbooks to plan and test ideas is also improving. My interest in nature was a huge inspiration for this course and I got to explore it in different ways throughout each part.

Starting with the monoprints which I have never done before, it was an interesting exercise and I enjoyed experimenting with the different tools and learning to work with the inks. The brushes created interesting textures that I didn't expect and when the colours of ink blended together they created some lovely effects.

Making the masks and using bright, bold colours was a very enjoyable start and I found myself wanting to experiment with different colour combinations. My aim was to produce a high number of prints not only for my own satisfaction of aiming to produce prints of quality but also to practice the methods that were new to me. I used thin card for the mask templates which seemed to hold up well when cutting and regular printer paper for the actual masks.

Looking Andy Warhol's series of 'Flowers' prints as suggested by Michelle, I could see the reference to the bold colours I have used for monoprints, the simple shapes of the flower petals with the vibrant colours really stand out from the detailed background. Although I like the colours Warhol used his work is not inspiring to me because it is more graphic in style and collaged with other artists photographs. I enjoy a more cleaner, nature themed look to my prints.

Garden Collage Magazine. 2022. The Story Behind Andy Warhol's Flowers - Garden Collage Magazine. [online] Available at: <https://gardencollage.com/inspire/art-design/andy-warhol/> [Accessed 29 January 2022].

Michelle suggested that I look up artists such as Stef Mitchell, Serena Smith and Squeak Carnwarth to see how they work and help me to develop my voice within my work. It was useful to visit their websites and learn about their process and how I could develop my own work. Stef Mitchell  and Serena Smith have a very delicate look to their prints, whilst I like the detail, I know I want to work with brighter colours and thicker lines and marks. It was interesting to see the kinds of effects that can be produced with printmaking techniques that they have shown in their portfolios. Squeak Carnwarth's work I found very interesting. Her use of layers and colour and how she created a mixed media soft effect but with ink. This artist will definitely influence my work for the next parts.

Staithesstudios.com. 2022. Stef Mitchell – Staithes Studios. [online] Available at: <http://staithesstudios.com/stef-mitchell/> [Accessed 29 January 2022].

Serenasmith.org. 2022. Labyrinth-Serena Smith artist and lithographer. [online] Available at: <http://www.serenasmith.org/a1-gallery2.asp?roomID=12577> [Accessed 29 January 2022].

Youtube.com. 2022. [online] Available at: <https://www.youtube.com/watch?v=MSPWbgdkqj8> [Accessed 29 January 2022].

Michelle also encouraged me to keep doing more observational drawings in my sketchbook that relate to my ideas and how I can develop them for further prints. Also to enlarge my drawings and crop them to explore different compositions and to think about my use of shape and scale. I feel I am somewhat limited due to the space I have available, the time scale left, cost of materials and the size of my equipment. I therefore am working on a range of papers from A5 sized to A3 and three different paper types.

My personal voice is developing slowly overtime, at this point I am finding it difficult to put into words. Nature is a passion of mine and my Christian faith. I aim to explore these themes further during the course.

Overall I feel I made a good start to this course and I am very happy with the feedback from my tutor Michelle. I am looking forward to working with lino prints and seeing where my work takes me.