Printmaking one – my response to tutor report for assignment 5


I have really enjoyed the course and have pushed myself and worked hard to find solution for my lack of experience as a printmaker. I have faced many challenges on the way and have been at times very frustrated with my work, so I was pleased that despite my evident technical issues my tutor has recognised how hard I have worked. I am definitely not a natural printmaker but I do feel that I have come a long way and the course has helped me explore my creativity and discover many new working processes for me. I also feel that i would like to continue printmaking as despite many personal hurdles i have really enjoyed the course and how it has helped me with my personal learning goals.

The final module – combined printmaking  has been a real steep learning curve for me – I gambled with producing work from the heart deciding to use printmaking to explore work inspired by a more emotional response to my themes – yet at the same time delving further into my themes and inspirations.

TASK ONE – project

I experienced several technical difficulties exploring my first combined prints. I agree with my tutor that I should have explored making my prints larger as the scale does not represent my original drawings and preliminary work.  I was nervous about exploring combining printmaking methods so I feel I did not really push myself enough.  My dyslexia causes me some trouble as tasks that involve measurements , straight edges and alignment I find extremely difficult ( I cannot get a straight line even with a ruler) so trying to place my paper on to my Lino was extremely difficult.  Registering prints thoughout the entire course has been very problematic. This hurdle I feel has at times made me feel very disheartened but I was determined to overcome some of this in my larger set of final prints.

My fish design I felt does lack sophistication and I regret that I didn’t spend more time perfecting the image.

I have looked at Patrick Caulfield as suggested and I like the scale and the clean unfussy structure of his prints.


I found the  chine colle technique very difficult and challenging. I didn’t really enjoy the task – it was difficult to produce clear fresh work. I found the gluing process very hard and I either seemed to under or over glue my collage materials. I found fine tissue paper had the tendency to buckle.  I decided to focus my mind on developing ideas for my final prints by  exploring themes that I intended to use later and I feel that doing this helped me relax more. I feel that this did help me a little and I did manage to produce not exactly perfect prints but something better than my early chine colle effects. I felt despite not particularly enjoying the tasks I had nonetheless learnt some new skills.

TASK 3 ( final prints)

My this stage I was feeling the pressure as I felt I needed to achieve some work that I liked. I really needed to push myself I had plenty of ideas for my final prints but was unsure whether I could achieve my objectives and aims. It was clear I needed to work larger and that this was a gamble as well as a Challenge. I really needed to enhance and really develop my themes. I did find working larger challenging especially as I do not have a printing press but I do feel working bigger worked better for me. I definitely do want to explore scale more and will explore blowing up my preliminary sketches on a photocopier. I found working larger allowed me to experiment more with the placement of my images. My final prints were definitely not completely perfect or polished but I felt they did represent me and the sense of what i was hoping to achieve.

I am interested in my tutors comment about my portraits reminding her of the work of Eileen Cooper. I do not know much about Cooper so I will definitely have a look at her work.

I have recently brought a book about Robert Rauschenberg as it was on the reading list for exploring drawing media – he is an artist that interests me as I like the way he used materials and found objects to explore collages and installations.


I have really found using an online blog challenging as I do not process sophisticated IT skills I struggled to import the OCA template and in comparison to other students my blog interface is very basic. Nonetheless I feel that my learning log has began to be an essential tool that has enabled me to focus and begin to find my personal voice. Blogging has made me focus much more and engage with some sort of purpose and understanding on what the course is asking me to do . Despite issues caused by my dyslexia I feel that my writing content has improved. I also enjoy recording my own responses and reflections- I introduced a A4 sizes  sketchbook during part 5 to record all my research and contextual studies and the book has really helped me formulate responses to add in my learning log. I begin in the book recording my feelings which I then collate to form my critical essays. I really enjoy visiting galleries and looking at art – I try to get something useful out of these visits. During the course I feel that I have gained a much greater understanding of the power of visual art and hope that as I develop I begin to really start to evaluate and understand my own work.


I feel that my sketchbooks have evolved a great deal. They now really underpin my processes. I will endeavour to keep asking myself questions and re-work ideas. I once read an article about Grayson Perry’s sketchbooks where he commented on the importance of sketchbooks saying that he felt the work in his sketchbooks was more important than his finished work. ( source 19/02/2016. I tend to agree with this sentiment my sketchbooks are very precious to me.


I have a copy of “vitamin D “ a book that I really like and I have just purchased a copy of “contemporary drawing” by Katherine Scout. I will try and get a copy of “the drawing book” by Tonia Kouats.


I will continue to visit galleries and research  artists. I will explore methods and ways to really use my drawings in practical ways including focusing on scale. I hope to continue practicing the techniques of  printmaking with the aim of overcoming some of my technical difficulties. I will continue to draw from life.

I would like to thank my tutor for supporting me though the many challenges of printmaking. For encouraging me to find my voice and creative vision. And lastly for introducing me to some really interesting and inspiring contemporary artists.

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Gallery visit – October 2017 – Victoria Rance – the night horse and the Holy Baboon – sculptures, drawings, photographs and animations- 2007-2017

On Friday 27th October I visited an exhibition –  Victoria Rance at the Cello factory , 34 Cornwall road, Waterloo London SE1 8TJ

These are my personal notes and reflections; there were around 70 Art works including 5 films – in this review I have chosen a selection of the works to focus on – the ones that I felt  most drawn to. When I arrived on a late  October morning , before the lights were turned on the space was bathed in dappled light from the Autumn sunshine.


The lobby area contained a small selection of photographs. “Medusa head” 2011 digital photographic image , is a powerful image in stark black a still from an animation. I felt that the image had an hypnotic quality. This medusa seems sensitive and sad and not the scary monster I remember from Ray Harryhausen’s  stop-motion 1981 film “The clash of Titans “.

I then moved on into the main gallery. My first impression was of a light and spacious exhibition space. At the entrance were two gigantic and impressive installations “Loki  and “Loki”’ 2017 constructed from MDF. The two figures appear to be hybrid creatures comprising elements of humans, rabbits and bats.  The “Loki’s “seemed to frame the gallery as if they were there to lead visitors into a sacred or secret place. As you enter the gallery in the nearest corner is a really interesting decorative cage- like installation constructed from silicone bronze steel called “space for a woman”,  the indicate patterning I felt had elements of Islamic and Christian patterns. I also felt that the piece was very feminine. I felt that the installation represented a safe place, somewhere to shelter or hide from danger. It also had the feel of a church confessional.  I really liked the shadows cast by the grid like cut outs reflected onto  the white walls of the gallery. I thought that the work was beautiful and serene.

Next to the installation was “the executioner of Riwa” 2009 scrim, plaster and terracotta. The piece was beautifully made,  part of Victoria’s wearable art. Despite its evident beauty there was a visceral and sinister feel – I thought it was interesting to see it placed next to  “Space for a woman”.

“The executioners wife” 2009 string , plaster and mdf in contrast to “the executioner of Riwa” had a much more fragile ethereal feel – the wearable art piece had a looser delicate feel that reminded me of a fine pale cobweb or even a floaty shredded skin – like the old skin of a snake It is a beautiful piece of work that I feel had a powerful story to tell.

“Wise old men ( we beseech thee) ” 2013 felt, aluminium and pistachios  is another piece of wearable art that also had a narrative to reveal. The piece I felt had a very folk art quality. The costume constructed in white materials features a wise bespectacled face! The costume also included Woolly  textured shoes and a wooden stick. I thought that the piece had a friendly amiable feel quite different from the ambivalent “Executioner of Riwa” where the beauty of the  ornate piece masked its  sinister story and history.

“Monkey Mask” 2016 faux leather, brass , felt and pewter,  had a wonderful air of mystery- the intense rich brown hues of the materials seem simplistic but on closer inspection a monkey face mask is revealed. The monkey face has a tragic feel , it has a wise and noble bearing. I found this piece utterly fascinating and it had an almost hypnotic pull. There were two interesting pieces inspired by nature “wasp spider / Argiope” 2009 and “Beetle” also 2009, both pieces constructed out of foam and merino wool sculpted to resemble an insect’s outer shell complete with the insect’s unique patterning. Again there is the sense of hiding, safety and refuge. The wearer of these pieces carry the protection of the markings to protect them from enemies and predators. Both these pieces had a comforting tactile quality.

“Caterpillar ” 2009 dyed string and MDF continues the theme of a place of safety.

“Loki ( long eared bat person) “2013 wool, felt , shells and scrim again we are introduced to the mysterious shape shifting Loki. Here Loki appears wise ,  watchful and belligerent with a visible third eye.  I really liked the wearable art and found the way that they were grouped interesting – there was I felt a story being revealed.

Then standing guard over the gallery was a huge installation ” The Holy Baboon” 2017 constructed using wood, felt and wool. Despite being a puzzling creature I felt the “Holy Baboon”  was filling the role of a protector. The presence of such a unlikely character seems to symbolise harmony and comfort. In some ways the Holy Baboon reminded me of a Masai warrior watching over and protecting his domain. The exhibition catalogue talks about the “Holy Baboon” as a temple Guardian that watches over sacred places and mortality.

Close to this immerse art work placed so it appears to be having a “face off” with the “Holy Baboon”  is the eponymous “Night horse ” 2017 constructed using wood, felt and wool. “The Night horse”  has a simple shape and appears to resemble a rocking horse from childhood. But despite the toy- like design and a sense of purity “The  Night horse”is in fact a mythical creature inspired by the Nigerian Night Horse that can be ridden without anyone seeing the rider – so that you can ride the horse to kill your enemies without being detected. Again I really like the ambiguity of the horse.


I then went upstairs to the screening room to view Victoria’s films and animations. There were 5 films in total that offered an insight into some of the themes explored in the exhibition.

“I wish” 2014 tells the story behind an ongoing project that explores the act of creating a wish in a talismantic form. Wish requests are written down and numbered then the wisher can return a week later to collect their handcrafted wish. The wish would be then placed in the palm of the  wisher and photographed. I felt that the idea behind “I wish” was very moving but also very empowering , uplifting and magical.

In “Medusa ”  2010, the myth of the monstrous legendary Medusa is explored and told using performance and animation.  The myth is also explored in another film ” Medusa and Perseus” 2012. Both films were made in striking stark flattened black and white. I liked the way that Medusa  was portrayed,  as we witness a vulnerable side to her personality- but then this fragility is over turned as the empowered Medusa rises up dwarfing Perseus who appears in a striking scene to be  reduced to a tiny figure on top of the giant Medusa’s head! A scene heavy with symbolism and metaphor which I felt may be about exploring myths of feminism. I also felt some of the imagery in the Medusa films resembled Japanese art reminding me of woodblock prints. The matte monochromatic black shapes in the film  had the appearance of Japanese symbols” . Both films I found very powerful.

“Fasnacht” film 2013-2017 is a short black and white film containing many of the  themes that run throughout the exhibition including – hybrid animals, “Loki”, mythology and mask wearing . There is a dark nightmarish scene of a scary witch and other quite dark imagery is also revealed to the viewers of the film. The music had a punchy rhythmic quality. The film explores  Fasnacht when mask wearing is celebrated. I felt that the film was essentially passing comments on the power of identity.

“Monkey Mask” film 2017 was definitely my favourite of all the  films –  I found it Immensely beautiful, mesmerising and extremely poignant. The monkey at the beginning of the film seems a tragic lonely figure hiding her face in her hands – a tender scene where the pale white hands contrast with the intense black imagery. We then see the Monkey walking in a cloak that almost seems to represent invisibility- a cloak of invisibility which is again the sense of a place of sanctuary to retreat into. The Monkey seems deeply troubled moving and pacing without seeming to have a direction.  Then in an astonishingly beautiful and profound moment we finally glimpse the Monkey’s face reflected in a saucepan – it is a real revelation scene filled with pathos. The face we see is raw and unguarded,  we see wisdom and emotions etched onto the Monkey’s features. I found watching the film a very emotive experience. Talking to Victoria afterwards about her work she revealed that she was the Monkey in the film and that the film was  about fear of ageing and that she wanted to convey that older women are powerful and important – they have wisdom and many unique qualities to share. They nurture and pass on their experiences to younger people , and despite society and the media’s tendency to revere youth and beauty older women do have a positive influence on younger women.


There were 8 drawings displayed upstairs- all of the drawings explore some of the recurring themes and characters of the show including “Loki” and “The  Holy baboon”.

“Golden Monkey ” 2017,  ink on paper,  features a fascinating yellow Monkey. The Monkey’s deep dark eyes look curious and knowing. There is an aura of mystery about the Monkey. I really like the way the ink has been applied skilfully suggesting the texture of the Monkey’s fur. All of the drawings I felt had a relaxed languished  feel. There was a radiant quality to the vibrant yellow ink.

Along the landing from the drawings were a collection of small,  palm- sized silver -coloured pewter sculptures called ” Otherworld”. These tiny detailed works are concerned with nature and mythology- I also felt that they also seem to focus on  relationships and connections between reality, nature and people.  Viewing the tiny figures I spotted rabbits, birds, sheep, a bird that seemed to resemble a penguin , foxes,  deer, dogs, an owl, masked hybrid creatures such as “Loki”,  seal  like creatures , perhaps a  Selkie?


I thought it was a very interesting show, it was powerful , emotive , intriguing , inspiring and thought provoking. I thought the show was very well curated. There were touches of magical realism, textures, shapes, objects, creatures and mythology. I liked the fact that there was  lots going on and I enjoyed unpicking the common threads that had inspired the exhibition. There was a lot to say about the human condition including: ageing, the role of women, about a place to retreat into – a place to shelter away from what can be a nasty world particularly for the vulnerable- “a space for a woman ” is what is says a space to go to that is woman sized. The show had references to identity with wearable art and masks. The show was  also about transformation ‘ invisibility ” touched upon – there was darkness but also light – the protection of ” The Holy Baboon “, the comfort of a wish or talisman , the power of creativity. I really liked some of the more ambiguous and sinister meanings ( “The  Night Horse” ) . I liked the warmth radiating throughout  the the use of predominantly yellows, browns, earthy hues colours of the earth , nature and the sun. I personally find yellow a very comforting colour.

Finally I really enjoy looking at art that poses questions , I like art the can be puzzling – that has a meaning and a story to tell. All the pieces in this show had a narrative quality providing the viewer with plenty to reflect on.


I felt the show offered me an insight to the artistic process. I learnt that art is an ongoing process that exploring themes is something that even an experienced artist has to do. I learnt that art is about personal experiences , emotions – that it can be inspired by memories, from childhood , about fears and identity. I felt I also learnt that art can be a powerful visual tool that can be used  to comment on society , that it allows an artist to provide an insight to dark topics. I learnt about the role of film as a visual medium ( the 5 films in the show were all powerful , visceral and beautiful). I learnt about referencing themes across different media- drawing, sculpture , photography and film. I learnt about how art and creativity can transform and enrich lives. It was a very thought provoking show thst gave me plenty to ponder over.


I would like to thank Victoria Rance for inviting me to her show and for sharing some of the inspiration behind her work , and for gifting me a exhibition catalogue. I also want to thank Victoria for allowing me to take notes and write up about her exhibition > victoriarance > docs


Victoria Rance : the Night horse and the Holy Baboon – printed  by Elephant Print Ltd

Published by Art in perpetuity Trust   ISBN 978-0-9931685-8-1

Books used during print making one

  • J Newell, D Whittington – monoprints – Bloomsbury – 978-0-7136-6742-2

A very useful book as it covers many different aspects of monoprinting. It is well illustrated with useful information on techniques. It also has information on combined printmaking so it was definitely very useful and inspiring.

  • B Hartill , R Clarke – collagraph sand mixed media printmaking – Bloomsbury – 978-0–7126-6396-9

This book covers a lot of useful information but I didn’t really find it particularly inspiring for me although it does cover all the techniques and materials . But I found the section on combined printmaking and monoprinting very confusing.

  • B Fick , B Grabowski – printmaking a complete guide to materials and processes – 2nd edition – 978-1-78067-194-9 – Laurence King publishing

Another very useful book that was essential reading. The book covers all aspects of printmaking in just another detail. Fully illustrated it covers materials and techniques and there are good examples of work by contemporary printmakers.

  • M Davidson – contemporary drawing key concepts and techniques- 978-0-8230-3315-7 – Watson-Gupill publication

A really inspiring and helpful book for drawing students. The book looks at and explores contemporary drawing. The book challenged my perspection on what “drawing” is and what it means to me. As I am following the drawing BA pathway essential reading for me.

  • R Malbert – drawing people- the human figure in contemporary art – 978-0–500-29163-4 – Thames and Hudson

A really inspiring large coffe table book. It was really helpful to me when I was challenging notions of self portraits, emotions and identity when doing a series of daily time self portrait drawings. The book helped me address many questions on drawing people. Reading this book and my visit to the Whitechapel gallery to see ‘Iself’ show has given me a real insight into drawing people. Helping me to challenge many of the pre-conceived notions that I have been carrying around for years!

The book is filled with a wide range of contemporary artists from Europe, America, Africa and Asia. There were included interesting examples of work by Antony Gormley and Louise Bourgeois as well as work by a younger generation of artists such as Seuda Chkoutuua ( b.1978 Bulgaria ) and Jinju Lee ( b.1980 South Korea) . Each section of the book is sorted into a different aspect including – body, self and social reality, definitely essential reading for drawing students.

Assignment 5 – reflections and demonstration of learning outcomes

Assignment 5 – is about exploring combined printmaking and using chine colle. Learning new skills and then incorporating techniques from the entire course to produce a final set of prints using two or more printmaking techniques.

Task 1 – project 13 – is about producing a series of prints incorporating monoprint and Lino.

Task 2 – project 14 – is about producing a series of prints incorporating Lino and chine colle collage .

Task 3 – project 15 – is about producing a series of four combined prints using a range of techniques including , mono, Lino, collagraph and chine colle.

Demonstration of technical and visual skills – for all the  tasks I developed ideas from my sketchbook focusing on observational drawing from which I produced combined prints. . I explored colour, composition, mark making, cutting skills,  inking blocks, and hand pulling my prints. I used different printmaking paper – a variety of cutting tools, and a variety of different supports. I made choices and decisions – and recorded my process. I used different printmaking processes Lino, mono, collagraph , collage and chine colle.  I used a variety of chine colle collage papers and found paper. I monitored my progress. I problem solved technical difficulties- recording what worked and what didn’t and working  though areas that i  challenged with. I problem solved making decisions searching for solutions.- i decided and planned all the tasks.

QUALITY OF OUTCOME – I carefully gathered together a range of technical skills and applied these skills in a measured manner – recording and setting aims and objectives.  I analysed my progress recording my strengths and weaknesses. I followed carefully the notes set out in my course materials. I tried new things such as using Japanese rice glue, chine colle and I used a digital image. I worked from careful plans but changed and evaluated  my work as necessary- making decisions and looking for solutions . I trouble shooted and pushed myself when challenged. I recognized my weaknesses. I decided to do an extra print as I felt that I needed to push my theme further. I decided to include collagraph on one of my prints processes  -as it it a technique that I have experienced difficulties with. I also worked much larger on my final prints which as I do not have a press was very challenging. I pushed though ideas to use for my final prints.

DEMONSTRATION OF CREATIVITY – I spend some time developing my ideas in a creative manner – using aspects of my personal voice to make choices. I spend some  time really thinking about what I wanted to achieve and carefully thought about my aims and objectives. I also experimented with some new ideas – about attempting to think outside of the box.  I explored Using my personal imagination to push my themes. I used my sketchbook to plan and demonstrate creativity, I chose my themes carefully linking ideas together – and reflecting on why I was drawn to particular themes. I followed my heart rather than my head- as I decided that I wanted to express my our very personal vision – in many way I was aiming at producing art that had meaning to me personally – art that reflected my though processes that enhanced the creativity process.

CONTEXT – thoughout unit 5 I spent a lot of time on reflection I took my time deciding on where I wanted to take my theme – I looked at other artists – looking at their work with the specific aim of  learning  from their working methods. I carefully wrote my ideas and feelings into my blog. I also developed my sketchbook as a tool to reflect and record ideas and to plan my work. I also spend time developing my personal voice – questioning and evaluating my emotional response to my work. I decided that I really needed to express my inner feelings as this course had made me see and feel differently.  I did experience many  technical hitches along the way  which i recorded in my learning log.- I came to printmaking with no previous experience so I was keen to record my journey and record my struggles in a analytical manner.

Assignment 5 – task 3 project 15 – final combined print 5

For my final combined print I really wanted to push  my creativity by  gathering together my innermost thoughts  regarding the goat theme with the aim of  producing  a print from the heart, in many way a culmination of what an emotive journey I have been on. I wanted in this final print to combine my ideas and also to explore more fully  my very personal response  to Pawel Althamer’s life sized self portrait installation ‘self portrait as a goat’. I started from my sketches of Althamer’s work that I did from life. I then experimented with adding my own self portrait to Althamer’s goat and exploring both images morphing into one. I felt that I was pushing my theme to the limit ? I felt that I wanted to pay homage to my fascination with goats. A creature that is mysterious and posed many deep questions – I also felt I want to thank the goat for inspiring me so much – and being a goat seemed in many ways the only  avenue to do this. I have come to realise that a self portrait can take many forms and instead of always being a figurative likeness it can reflect instead something from within such as  thought processes ? So to me what better way to share this than becoming a goat? Yet still commenting on the fact that I am human and that i can never really be a goat  Inspired by Althamer’s commentary on Polish identity I now knew where I was going in my final project.

I explored my ideas in my sketchbook. I produced an A4 collage of my final design looking at colour, tonal ranges and composition. This final print  was also the one that I was  going to use collagraph as one of my techniques. Once I had decided on my final image I enlarged in on a photocopier ensuring I made two copies one for a monoprint and one for a collagraph. I then glued one of the photocopies to my collagraph board. The other copy I placed underneath my clear perplex board. I began  first by producing my monoprint.  I used oil based ink in primary colours and white which I applied to my perplex board using a paint brush. I used my ink in a fluid manner as i was looking for a fragile also translucent effect.  I used Somerset mid weight printmaking paper. I hand pulled my monoprint. For my collagraph I used    string as my collage  material which i glued to my board . I was extremely nervous about inking my collagraph block. I used black ink fairly fluidly and once I had covered the board I used a piece of cloth to remove some of the ink as I only wanted a faint covering of ink with the aim of adding atmosphere rather than a sharp impression. I added my monoprinted image to my collagraph board and hand pulled my print using a wooden spoon,  I repeated the process to produce another print – both images are different. I am pleased with my final prints – although by no means can they be termed as  perfect prints – but  I feel that I achieved my aims, they are creative, expressive, and highly personal. I felt very emotional looking at my two prints. It was a difficult print and I was not sure that I would be able to pull of my idea – but I really wanted to fulfill my idea to the best of my ability. Definitely challenging on many levels. There are a few technical issues. The collagraphed hands are under inked and the registration is slightly off? I think my paper may have moved slightly when I was hand pulling the image. But i still feel pleased with the outcome.



Assignment 5 – task 3 – project 15 – print 4

for my fourth combined print I returned to the goat as the primary source. I wanted to produce a print that conveyed the mystery and history of the goat. I have during this course learnt a lot about this ancient domestic creature. They have a long history that can be traced back though centuries. They also have a very eventful history being at various times either revered or viewed as satanic. In my first sketches I drew my goat with a golden halo. I also decided to add golden letters spelling the word ” gold” deprived from their name ” golden Guernsey “.

I began the first stage of my print by producing a monoprint of a goat with just its head  captured in profile. I used oil based inks and mixed primary colours and white. I used a brush to apply the ink using fairly large brush marks to build up tone and suggest the texture of the goats Woolley coat. Using Lino I carved the word “gold” I made a conscious effect to reverse the letters. I also decided rather than using all gold for the letters I would use black ink with some gold foil chine colle placed randomly onto the letters. I was aiming for bold letters – uneven and mysterious looking to pose questions  as to what the word means and also to suggest the ancient primeval spirituality of the goat. I decided not to go with a halo – as my monoprint seemed to suggest the innocent of the goat.

I did have a huge mistake the “d” letter i didn’t reverse!  – but I feel that this didn’t matter ( as it’s a reflection of my dyslexia , and adds an air of mystery ). I also feel that I over inked the ‘G”. Despite my technical failings I really like the final print it more or less conveys the message that I was hoping to achieve. 

Assignment 5 – task 3 – project 15 – combined print 3

For my third print I further explored my metaphorical transformation into a hybrid goat. Again i used a digital photograph image that I torn and assembled into a hybrid goat / woman. I hand coloured the  image with coloured pencil, and collaged a goat beard. I  then photocopied my design on a piece of printmaking paper. I then glued this onto a large piece of heavy textured rough watercolour paper. I then monoprinted abstract blocks of colour onto the image using red oil based ink. I used a fluid sparse amount of black ink to produce a frame effect around my portrait. I added gold foiled paper chine colle onto the print adding goat ears. I rubbed the edge of a small coin onto some of the gold chine colle paper to add a subtle embrossed effect. I am fairly pleased with the strong image I have produced- it has a rawness that I was hoping to achieve and a sense of mystery. I was also aiming for the look of a decorative icon. I feel that I definitely have achieved my aims in this print.

Assignment 5 – task 3 project 15 print 2

IMG_7106For my second print I used digital art, chine colle and monoprint. The idea behind this print is to start to explore my relationship to a golden Guernsey goat by beginning to look at common elements and starting to assemble these together – for example my hair colouring is similar to the coat of the golden Guernsey goat. I began by taking some selfie photos using an iPhone. I then edited the photos turning them into a black and white image – which I then printed out and enlarged on a photocopier.  I then used coloured pencils onto the photocopied image adding some subtle tonal areas.

Next I cut into the digital image. I then photocopied the image again then photocopied the same image onto the reserve of the photocopy so I effectively now had a double sized image. I added   added japanese rice glue onto the photocopied self portrait before positioning the image onto my clear perplex block with the glued size face up. I then working quickly  before the glue dried out – painted onto the block  using oil based ink. I used yellow, blue and red ink. Mixing red and yellow to add goat ears and horns. I also painted in my yellow cardigan. I then used smooth zerkall paper to hand pull my print. I used a Japanese barren in careful but firm circular movements to achieve the printed image. I felt fairly pleased with my print and felt using a digital image as my chine colle material yielded a fairly interesting result. I feel that I am beginning to get inside my theme.

Assignment 5 – task 3 – project 15 – combined print 1

For this fairly figurative print I started with a sketch  that I had drawn of a golden Guernsey goat drawn in profile. I decided for this print to use monoprinting and linocut. I also decided to use the back drawing method of monoprint. As I was hoping to capture the fragile yet physical presence and form of the creature. I used oil based mid coloured blue ink. Working from my original sketch which I had enlarged I inked up a dense piece of clear perplex. I then placed my zerkall smooth paper onto the inked block. I then placed my design onto the back of my paper and used a thin wooden blunt ended stick to trace my design. I carefully pressed down keeping my paper firm and still. Once I had had completed the drawing I peeled back my paper to reveal the printed image. I was pleased with my mark making and I felt that  I had captured the gestural movement of the animal.

For the second part of the print I used Lino. I found an image of a goat skeleton on the internet and sketched it – keeping the design simple just aiming to capture the basic skeletal structure without including to much unnecessary detail. I then traced by design onto my Lino block. I then inked up my Lino again using blue oil based ink but this time also adding a small amount of white ink. I then carefully placed the Lino onto my monoprint design. I used a wooden spoon to press out my design. I was fairly pleased with the finished print but I feel the form of the goat needed enhancing. So once the print was dry I placed it under my clear  block and again I used blue ink mixed with white ink I added areas of the ink onto the perplex – carefully hilighting elements of the goat’s form . I then carefully removed my paper from under the clear block and placed it on top of my new monoprint carefully registering my paper matching it to the  line I had marked using masking tape. I am fairly happy with the print – I felt that I had managed to use my techniques- monoprinting using backdrawing and painting onto a block and Lino. The ink coverage although not totally perfect seems sufficient. I am really pleased with my registration as for the first time since starting the course it is spot on. In this print I have explored the physical nature of the goat – depicting it physical appearance and revealing its skeleton. Hopefully imbuing it with a sense of form? And enhancing its physical appearance.

Task 3 – project 15 

Once I was clear on my theme for my final project- I planned my series of prints using my sketchbook initially to develop ideas – firstly producing simple thumb nail sketches planning a series of prints. I also wrote some simple notes about colour and techniques.

I decided to incorporate an element of digital art for the first time. I chose three  different papers – Somerset printing paper, zerkall paper and straitmore paper. I deduced that I needed to include collagraph ( which I am not confident with) as one of my processes with monoprinting ( my favourite printmaking medium). I felt despite a lack of confidence and nerves I needed to really challenge myself.

Once I had planned by series of prints – I planned them on large paper keeping trying to keep the drawing to scale, but making alterations to the composition as necessary. I actually had so many ideas that I planned – so in the end I decided to do 5 prints.