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Final Display

Water came to the forefront of this theme for me as I am drawn by its ability to cleanse and sooth through its fluid form of movement. The response of light to water also sparked my interest, how it can be reflected on the many different surfaces water can create. This especially appealed to me at the beginning of my photography elective as I found amazing visuals can be produced when light is shon on the manipulated surface of a body of water. Through experimenting with watergrams I was really able to see this movement of light throughout the complex forms that water can take. This is essentially what motivated my interests in seeing the beauty of what can be produced through paying attention to the intoxicating dance of light on water.

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Concept Development

I initiated the project by exploring the visuals of movement and how it can be reflected on different surfaces such as water. I began the photography elective by attempting to capture the reflection on the surface of puddles using pinhole cameras. I then discovered the artist Susan Derges, a contemporary British photographer known for her experimental creation of photos without a traditional camera. I was inspired by her work, particularly her pioneering technique of capturing the continuous movement of water by immersing photographic paper directly into rivers or shorelines. From this source of inspiration, I experimented with light and fluid movement to create a series of watergrams. As camera-less process being a core element in the production of these images, I decided to use this concept as a link throughout my following electives. Where in photography I used no camera, in painting I would depict the enlarged watergram without the use of a brush. Similarly, in printmaking I would explore handmade printing, or printmaking without the use of a press. I incorporated aspects of the electives together ultimately investigating the streams, striations, progression and flow captured in watergrams.

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Screenprinting results (including stencil)

Above are the results of combining the painterly approach to screen printing with stencil layering. I am not quite satisfied with the outcome from this workshop. Once again, I think the process itself related to the concept and link between my electives. However, I wanted to include the failed experimentation. I would have liked to create a few more stencils and print them on top of eachother, perhaps in lighter and darker colours to emphasis the contrast.

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Screen Print Painting Pt 2

(including stencil)

My second approach to screenprinting differed slightly from the first. It involved using a spatula instead of paintbrushes. I wanted to incorporate the same materials from the painting elective, to a achieve similar results to the impasto technique, larger shapes/ blocks of colour rather than distinct paintbrush stokes. I also tried to print on acetate, my idea for this would have been to layer with stencil and then hang as a piece or photograph with different light shining through it. However, due to the transparency of the ink, it did not transfer properly and therefore ended as a failed experiment.

I wanted to incorporate the original method of screenprinting by layering the stencils on top of the 'screen painted' paper as I felt they were too simple. I cut out the basic shapes and forms I saw from the watergram on the 100% recycled stencil paper. The registration process, using a large piece of acetate to print the stencil on top of and then lining the paper underneath it.

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Intaglio Printmaking- Drypoint Etching

In order to experiment with the variations of printmaking I decided to return to a process I familarised myself with quite well in the first semester. I enjoyed the process of incising into the surface of the acetate as it allowed for an array ways to create value using different mark making techniques. Although this not follow the original concept of handmade printmaking or press-less printmaking, I think that it is a good comparison between the traditional and non-traditional methods of printmaking.

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Monoprint drawing process...

The second printing method I experimented with from the handmade prints book is monotype drawing. Once again, I had all the materials required except for oil based ink. In the book, it was suggested to mix a few drops of household washing up liquid with the water based ink so that it does not dry as quickly. My intention was to just experiment with the process, familiarise myself with the method, mark make, draw basic forms and decide if I wanted to develop this further. I came to the conclusion that the process was too time consuming, I was not satisfied with the result enough to continue after the test piece above, however, I found the process interesting and think that experimenting with unfamiliar methods is very beneficial.

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Handmade Prints Pt 2

2. Monotype Drawing

The second method I want to explore is monotype drawing. I was briefly introduce to monotype printing in the first semester, I used the wiping method to remove the oil based ink from the surface of the acetate. This process created one of a kind prints that could not be repeated in an identical form as it is not made from a block or other semi-permanent printing matrix. I found it very difficult to achieve the results I wanted, so when I came across this method in the book I was intrigued. Monotype drawing may give the control I lacked in my previous attempt at monoprinting.

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Glue Print x Painting

Developing from glue printing, I decided to re-use the relief plate by applying the black ink into the interstices of the glue, all the parts I was unable to fill with the ink brayer, using a paintbrush. I'm quite pleased with the result, I feel this plate x painting piece portrays the impression of the transparent capillary waves clearly in particular as the light bounces off the plates surface.

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Glue print results...

Below are the results of printing on coloured and white cartridge paper. I wasn't quite satisfied with the end results. I used a Vaseline tub to hand burnish the relief print. This was quite difficult as the page continued to slip and the ink dried faster than I had anticipated, obliging me to continuously reapply coats of ink.

Reflection:

I came to the conclusion that the process and the plate itself were more of a successful outcome that the prints. Perhaps if had incorporated the collage aspect I read about in the book (collagraphy) I would have created prints I would be content with. I am going to experiment with the relief plate and come up with ways I could re-use it in creating a painting.

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1. Experimenting with glue printing...

I started by preparing the materials I was going to be using such as a palette knives, PVA glue etc. Throughout the process I improvised with the application of the glue as it had the tendency of expanding on the board. I resolved this by using a hair dryer to avoid the glue from spreading out and loosing the form I intended to make.

Watergram reference photo from photography elective..

Similarly to painting on the silk screen I used a palette knife to create the ripples with the glue. I soon found this to be an ineffective method in achieving the very thin lines and I resorted to pouring it on the surface from head height. I also used my fingers, pens and pieces of discarded paper I found on the table. At this stage I was beginning to like the way the plate looked as the glue was drying and becoming clear. Photographing this as the light hit the transparent mark, gave the impression of the clear water ripples/Capillary waves, prior to the printing itself.

I brought printing materials I already had into the studio to print the image onto the paper, including ink brayer, black water based ink. The print process was similar to that of lino printing as it did not require a printing press. Using the ink brayer was challenging in managing the coverage of the plates surface, therefore, i resorted to using a sponge to get into all the crevices.

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Handmade Prints Pt 1

1. Glue and collage prints

Whilst experimenting with the process of stencil-less screenprinting, I wanted to develop the concept of press-less printing further by applying it to different printmaking techniques when I discovered this book in the library. Handmade prints by Anne Desmet and Jim anderson includes numerous techniques from body prints to ceramic printing. The one which interested me was glue prints and collagraphs. I never tried this method of printing before and as I had the necessary materials at home and the process did not require a printing press, I think it would be an interesting experimentation.

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Screen printing (painting method)

Process:

The preparation for this procedure was no different to the stencil screenprinting. The choice of multiple colours was the only aspect that differed. The process itself consisted of applying the ink onto the surface of the mesh using a paintbrush. I didn't have a specific method for spreading the pigment, I simply moved the brush in a swirling motion and made sure to apply thickly.

Reflection:

I enjoyed the structureless application and the unique and unpredictable aspect of each print. I would like to experiment with this process further, developing from what I have learned and perhaps using acetate as the medium to print on instead of paper. Implementing the techniques from the painting elective I would use the spatula to apply the ink onto the mesh instead of the paintbrushes. I am also considering printing a stencil on top of the stencil-less screen print, as I feel it would give more context to the print. in order to do this I would use darker and more muted colours for the background for example dark blue, teals, purples and a lighter pastel almost white pigment for the stencil on top.

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Artist research- Helen Frankenthaler

I came across the artist Helen Frankenthaler in the library, in hopes of finding an appropriate artist relating to a painterly approach in printmaking, whether by concept, colour, methods etc. The cover of the book intrigued me as it seemed in my opinion to be a combination of the two. Upon reading contents of the book it became apparent that she explored to her fullest the materials and tools associated with painting and in addition whatever resources from the world at large might suit her needs to capture her imagination.

'Green likes Mauve' 'A little Zen'

'Wind Directions' 'Orange Downpour'

The excerpt above briefly discusses Frankenthalers first experience with the screenprinting process, with which I felt great resonation. The paragraph talks about the printmaking medium as not being the most generous for ''highlighting the gestural and tactile qualities so crucial to Frankenthaler's handwriting". (A characteristic I found to be relatable in the depiction of expressive water movement through stencil screenprinting). Overcoming this, she adopts a stencil related approach that is more sympathetic to her directness, pochoir. The images above are some of the initial results using this method. Frankenthaler virtually transformed the method into a direct painting procedure, applying acrylic paint with large sponges through a plastic stencil that defined broadly worked shapes. Variations in details along the stencils edges also added to the distinctive properties of every impression. In the making of each 'Wind Directions' impressions, Frankenthaler placed a second, larger sheet of paper under the one to be stenciled by pochoir. This sheet captured the overflow of her painterly gesture as she moved around each sheet.

I hope to experiment with this painterly quality in my upcoming screenprinting workshop.

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Linking Printmaking to Painting and Photography Electives

After discussing my concept and link between electives to one of my tutors, they suggested I take more of a painterly approach to stencil screen printing. I was recommended to return to the studio where I was going to be shown a different method of screen printing, one that does not involve a stencil. Due to the complexity of my water grams and the fact that my concept centered around water, and its dispersed reaction to touch, I found it difficult to portray this through a medium focused on simplicity. As I developed the camera-less approach to photography by creating water grams, to linking this concept in my next elective by creating brush-less paintings and now exploring the idea of stencil-less screen printing, I believe I have found a successful relation in the process of depicting water in these three mediums.

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Screen Print Workshop

Process:

I started my printmaking elective by attending the screen printing workshop. In this workshop we learned about the process of screenprinting with paper stencils. The paper used to cut out the stencils are made from 100% recycled material. The stencil blocks the ink which only passes through the mesh where it is not masked by the stencil. The screen consists of a fine mesh, stretched over a metal frame, which is then hinged to a board. To create the print, ink is forced through this mesh onto a paper beneath it using a squeegee. A squeegee is a straight piece of firm rubber or plastic mounted on a wooden handle. The cleaning up stage was very important in this process as any ink left unwashed on the surface of the mesh could dry quickly, blocking the ink from passing through.

Reflection:

I spent the majority of the workshop brainstorming ideas for my screen print, inverting images I had of my watergrams, cropping and enhancing them to come up with a composition. As my photo references were too detailed to draw and cut out in one workshop, I decided to focus on familiarising myself with the screen printing process and finding ways to link print to my other electives (painting & photography).

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Painting Elective...

Developing from the previous painting piece, I decided to focus on a smaller section of the same image. I did this on A2 size 300gsm white cartridge paper, as I wanted to note the difference between the two materials. I started by rolling thqe paint onto the page using an ink briar and already felt that the surface was much more undemanding due to the lack of ridges. I applied the same techniques I previously experimented on the cardboard, using materials such as sponges, palette knives, ink brayers and my hands, to implement the concept of brushless painting and link my first two electives.

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Painting Elective...

Above is the watergram result I decided to use in my painting elective. This image is in the negative as when scanned the photogram appeared over exposed and unrecognisable. With a few adjustments, the negative image revealed an array of colours, from which I decided to depict using the imapsto technique on a flatted cardboard box. My goal was to informally experiment with the different processes from the workshops. I was not interested in a creating a final piece but incorporating the techniques and concepts from artists Donald Teskey, Jeremy Mann, J.M.W Turner in my brushless painting approach to the elective. The process of applying the paint included sponges, pallette knives, ink briars and occasionally my fingers.

Reflection...

I found mixing the colours and matching them to the previously used paint challenging as the impasto method involved a large amount of paint and I found myself constantly in need of more. However, I was focusing on the application of the medium rather than the finished look. While the texture of the cardboard made it difficult to control the paint when using a pallette knife, the photographic results with the light bouncing on the surface of the material seemed to suit the concept of movement, as the folds in the cardboard surface reminded me of the ripples on the waters surface.

Initially, I did not intend on returning to this piece as it was the primary experimental stages of the painting process. However, after reflecting, I could experiment further with texture by including stitching or perhaps the reassembling of the cardboard sheet into its original form, a tray. Linking this to the process of creating a photogram in the darkroom and the equipment needed for this image, a tray filled with water.