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.
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.
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.
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.
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.
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.