Exercise 15: Plates; Proofing and printing

Print 1

I was initially planning to etch the lino but after I drew on it with stop-out fluid, I thought it would work to create a combination linocut / collagraph and then I could use different hardnesses of rollers to ink.


I used an A4 piece of lino for this part of the print and then a larger A3 sized collagraph plate. For the latter I made the plate by applying thread (alluding to threads of memory) and acrylic medium.

I made some textures plates to overprint with using crumpled paper/ plaster and acrylic medium- which I had to use where there were holes in my choice of board.


With the first prints I felt the texture of the dress was particular successful but I was not happy with the printing of the thread.
I posted this online for a crit on the OCA forum. The views were mixed but one comment really struck me- that it was too illustrative, which I completely agree with. In retrospect I had created the design to closely from the book and hadn’t put enough ‘me’ into it.

I had a thought about how I could improve it and started thinking about traces. The exhibition that I visited last year came to mind along with my trace drawing I did in assignment 1 of the course. I was thinking about line and traces and decided to trace the image of nan, then turning the paper slightly to create a traced image, the result reminded me of a Spirograph. I added this as backdrawing over the design, it created subtle delicate, feathers lines which I feel added interest and moved it a bit beyond the literal.

Print 2

I used two plates the first was a linocut. To create the interesting textures in the dress I overheated the lino so that it crumbled and broke up. To produce the second plate I inked up the first and offset it against a board and piece of card, then cut the correct shape out. I wasn’t too concerned about it lining up perfectly because I feel the slight overhang adds a bit of interest to a print.

I played around with inking a la poupee, first with subtle blue-greys then a pinkish palette.

I preferred the latter and decided to add elements of torn coloured tissue as chine colle.

Print 3 


To produce my map plate I needed to work as big as possible, so that when the map was folded correctly it would still have some impact.
The plate was 40 x 50 cm. I used acrylic medium to create the design. I decided I could ink this as a monotype / collagraph so used brushes, pounces and different hardnesses if roller for the different colours. It was very difficult working st such a large scale when I have quite a small workspace. It took a long time to produce each print but over the course of a printmaking session I had managed to produce one that I was pleased with.

Processed with Snapseed.After a positive crit online I decided to play around with chine colle. I had seen a WW1 film recently “Aces High” (1976) which had maps in the Major’s office- these were black and white with bright pink and blue labels plotting routes. I decided to reference this.

The final version of these was interesting. I liked the quality of the faded face and the rectangles of tissue had technological connotations. It reminded me of metropolis and then I was taken to ideas around the computer as metaphor for memory.

In the end though I decided I would send the previous incarnation to my tutor as the subtle colours are more in keeping with my portfolio as a whole.
For my ‘man:map’ cover I used an inkjet print of my design- printed onto photographic paper and attached to the map. I feel the result is quite successful.

Print 4

For this series of prints I used 2 plates: one for each side. The collagraph side was quite straight forward using thread and acrylic medium. For the lino I stupidly decided to draw the design on the plastic with tippex- this reacted with the vinyl and stayed tacky and did not dry. It was a nightmare to remove- this was my plate before scraping it off completely. I found the distressed plate to be quite appealing.


 

 

 

 

 

I proofed the series in black and white- they worked quite well. I wanted there to be more emotional intensity however, so played with a design incorporating colour on the PC. I wanted the colours to appear raw and hot.

To ink I used the viscosity method- thin ink below, remove areas then thick ink on top which only prints sticks to areas where the thinner ink hand been removed.

The ink mixed together to produce very interesting colours and the ghosts were quite delicate and pretty, in contrast to the initial images.

As an experiment I rolled the remaining ink onto a sheet of paper and was pleased and surprised with the result- the image of the man was slightly smaller and was faded with each roll round. An interesting outcome.

For the postcard side I created a stamp using a small eraser and pressed the inked surface onto a piece of Japanese washi paper. I wanted to mirror the faded effect from the front onto the back with the stamps fading out too.

I was able to use the small shuttlebug embossing machine for the chine colle/ collagraph element of these prints which made the whole process easier. I feel that the effect of the stamp and ink fading away on this side is successful at conveying a narrative in its own right without the need for words so I left it as is.

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