Combination prints, chine collé and further experiments
Task 1 (Project 13)
- Three combination mono and lino prints
Awagami paper, cream coloured, around 150gsm. Original post here
Genshi paper, cream coloured. Original post here
Chinese cotton, white, lightweight. Original post here
Task 2 (Project 14)
- Four chine collé prints
Kozo light, creamy-white, chine collé foliage.
Kozo light, creamy-white, chine collé greaseproof paper base and foliage. Fabulous crinkle effect from the pre-dyed greaseproof paper.
Pale brown (described as natural by Fair Trade. Really??) elephant dung paper, chine collé bricks. The chine collé tissue pattern was printed by myself.
Somerset paper, slightly creamy in colour, chine collé brickwork and blind embossed base feature.
All the images in this section were originally shown here
Task 3 (Project 15)
- Four contrasting prints
- Supporting statement
Gyokuryu paper. Original post here
Awagami Bamboo. A lovely, very smooth paper. New to me and I’ll use it again. Original post here
Grey Chin paper. Original post here
Chinese cotton. Original post here
My supporting statement has been uploaded separately as Project 15 review and can be read here.
Assessment criteria points:
Demonstration of technical and visual skills:
I think my technical ability has improved enormously over the last 6 months and, even though I continue to make mistakes, I’m able to assess where I’ve gone wrong and improve on it the next time. These projects had multiple prints taken so I could continue to tweak and correct small issues as I progressed.
Quality of outcome:
The quality of the pieces I’ve produced is good, in general. The inks are transferring well. The photos show slight speckling here and there but they were taken at a high-resolution and then edited so that is bound to reduce the quality of what can be seen on the internet.
I’m very disappointed in design 2 of project 15, the reduction lino print, and think it is mainly to do with my colour choices. Sorry, repeating myself here.
Demonstration of creativity:
I continue to explore and try out unusual concepts, particularly with regard to different papers, dry v wet, print plate surfaces (lino, foamex, perspex, glass, acetate, woodblock), ink application techniques, collage materials and the like.
I’ve also extended my subject matter and style of imagery and this has led to some prints working better than others but I’ve learned from trial and error. So some of the outcomes might not be perfect, they may not harmonise as well as I’d like but I see that as part of the point of studying. If I was good at this I wouldn’t need to do the course.
Context:
I don’t draw a huge amount but use Photoshop to pick out what interests me. I need to create a bigger database of my own drawings and fast sketches, even if they aren’t great. I have enough in my sketchbook but I’d like to build a much larger resource which will provide both stimulation to my brain and also a bigger partially pre-prepared accumulation of imagery for me to work with.
I continue to attend workshops within the printing field and I get a lot out of them, all of which improves my personal performance. In two weeks I’ll be at another 2 day event with Tony Ameniero again, this time he is exploring aluminium plate etching in a non-toxic manner.
I also continue to research other artists, actively participate in 3 on-line printing forums (outside OCA) and interact with others with similar interests. I recently joined Primrose Paper Arts Inc and have already attended my first paper making workshop. I hope to be able to produce some of my own paper to print on in the future.
Each project also has a critical analysis included in the relevant learning log post.
TactualTextiles 