Print - Refinement of ideas.

To refine my ideas for my term 1 print project I wanted to focus in on my use of colours; applying contrasting tones together and looking at layers. Also looking at Jason Martin and Keith Tyson's work combined, they have both helped influence and inspire my ideas, looking at manipulation and the textures within materials and colours. 

(Untitled, layered printing ink, on paper, A3)

(Untitled, layered printing ink and zest-it, on paper, A1)

(Untitled, layered printing ink dragged and printed multiple times, on paper, A1)

To create these refined prints shown above, I applied things that I have developed throughout the process of this project looking at chance and manipulation of the ink and also the use of layers and textures to show movement within the materials. To create these I applied the dark and light colours in separate layers done over time as I found that this helps to create contrasting surfaces between the dry sections of colour and the colour that contains zest-it. I found that this produces matte and shiny colours which is in turn visually appealing as each section is a slightly different texture giving the viewer a lot to look at. What I also find interesting about these prints is that it looks as though I printed the lighter colours first when in fact I started with the dark blue and purple tones. By layering the colours together I think that this creates depth within the work and also by using dry and wet ink, contrasting textures have been produced which makes the pieces more interesting to the viewer. Also with some of my work I found that when they dried the ink moved or changed in texture slightly; controlled accidents, manipulation caused by the process of drying. 

If I was to continue this project looking at textures and movement within the ink I would consider using different materials on different surfaces to see how they printed and expressed the differences between the matte and shiny textures. I would also explore the use of layers in more detail especially with contrasting dark and light tones. 

Jason Martin.

Jason Martin is an artist who combines sculpture and painting together, demonstrating action painting but still applying care to his art with a controlled hand. He is originally from Jersey but works between London and Portugal. I came across his work at the Frieze Art Fair in London 2013. The painting which was on display at the fair was a mixed media piece on stainless steel called Millais.

(Millais, Mixed media on stainless steel, 250 x 125cm, 2013)

What I like about this particular piece work is the use of marks and strokes to create movement and energy. Also the shiny varnish finish to the work is very eye catching as it highlights the textures within the piece. When researching his other pieces of work this themes continues expressing gestural marks and patterns. Martin is best known for his monotone paintings where layers of acrylic gel or oil are dragged across hard surfaces such as aluminium, stainless steel or Plexiglas using comb like pieces of metal or board in one single movement. I think that the marks made in his paintings are very soft and almost rhythmic with the likeness to hair or other soft materials and water. 

Looking at his work he explores the themes that I am looking at within my print work; movement and textures within materials. He has influenced me to express elements of control yet still creating ideas that show movement and contrasts between texture and to also explore layering the colours I use.

Print - Development relating to artist research.

After looking at the work by Keith Tyson and his use of chance and manipulation, I felt inspired to explore in detail the different ways in which I can move and distort the printing ink. I also wanted to focus on the idea of accidents and how I control them to produce a print just like Tyson uses chance and manipulation to create his work. To do this I used a very simple pallet to allow me to see how the ink can be moved about. Firstly I used a single toned pallet pulling the paper down on the surface, adding the  liquid zest-it to the ink and then moving the paper around on the surface to create different lines and densities of colour. 

(Untitled, print produced by dragging the paper, printing ink, A4)

(Untitled, print using zest-it and dragging and sliding the paper, printing ink, A4)

After this, instead of applying the colour to a solid glass surface I created my idea on a plastic pallet allowing me to move the ink around once zest-it was added instead of moving the ink with the paper. 

(Untitled, print done on plastic pallet using zest it, printing ink, A3)

I found this very interesting as it allowed me to research different ways in which I can move the ink around in preparation for my print. Also using a single and mono-toned pallet allowed me to see this in a simple way without lots of colours being used. To take this idea of manipulating the ink on the surface, I then introduced thought out colour pallets to my prints applying the processes I had previously tried out. I found that introducing colour to the work allows you to see the textures and movement within the ink more effectively compared to my simple ideas done before hand. 

(Untitled, print created by sliding the paper up and down, and using fabrics to make marks, printing ink, A3)

(Untitled, print using thick ink and zest it and dragging motion, printing ink, A3)

After experimenting with how the ink can be moved and then printed with I now wish to continue the project my looking at layering more contrasting colours together like extreme dark to extreme bright colour. When doing this I will apply some of the processes I have researched. I think that I have looked at how I can manipulate the ink quite well so will now look into the colours I use with more detail and consideration, applying them in ways that will help to express the textures and movement within the ink.

Keith Tyson.

As a part of my artist research it was suggested in my print crit that I had a look at the artist Keith Tyson. Tyson is a British artist born in 1969 from Cumbria. His work expresses a fascination with scientific systems and their limitations. One theme that Tyson focuses on is the idea of unpredictability. The artwork produced by Tyson that has most captured my inspiration is his series of 'Nature Paintings' which he began in 2006. Throughout these paintings he explores how making art can communicate the complexity of nature around the world.

(Nature Painting, industrial paint on aluminium, 198cm x 198cm, 2008)

This piece of art work shown above relates to cosmology, physics, meteorology and topography. It makes allusions to the natural world; it reminds me of a satellite image taken from space showing the movement and colours within the surface. Tyson's art work is mostly achieved by chance rather than a particular skill, unlike most artists who are valued for their 'skills'. The colours and shapes created are formed by the reactions between specially mixed paints and chemicals which Tyson pours at different angles and temperatures onto aluminium plates to help achieve different results. 

I find Tyson's work extremely interesting and appealing to the eye. I love the colours and forms produced in the paint that ends up creating a strong sense of movement and texture. Looking at his work it has inspired me to become more experimental with the colour pallets I produce and then print with in my project work. I will continue my ideas attempting to distort and mix the colours in different ways to show experimentation and to also allow me to print different textures. I will look at the shapes and movements within the colours more closely to help me further develop my work.

Print - Crit Term 1.

My first group crit was for my print project. When we got to my work someone asked the others what they thought of my work. Some of the words people said were; busy, energetic, exploration of space, creates atmosphere, bright, colourful. They also recognised that I felt inspired by Gerhard Richter. People then gave me some helpful suggestions as to what I could do next.

These are some of the comments made...

- Could develop my previous lino cuts; print these with lighter colours on top of the black colours

- I could add zest it on to the lino and see how that prints when sent through the press

- Combine the use of colour with the lino prints, layer up those two techniques? 

- Explore ways in which I could apply the colour; scrape onto paper, smudge, drag the paper. (find out how   to apply colour without preparing the pallet before hand)

- Colour seems to be taking over; maybe don't use urban element anymore 

- Colour & process could begin to dominate my project now as opposed to coming up with a 'concept'

- Try starting with black and white? then add colour on top? 

- Look at Keith Tyson!

This session has helped me a lot, I will work from these suggestions and I now feel happy with how my project should develop.

Print - Development no.2.

Following on from my previous print work I decided to try out combining the coloured prints with black and white mono-print drawings of urban environments; which I have briefly looked at as a part of the project i.e. dispersion of crowds of people. The idea of layers, influenced partly by Gerhard Richter, also played a big part during this stage as I wanted to combine techniques together to see if it worked or not and what could be done to improve on this. I began by producing mono-prints of sketches to form the backgrounds. To do this I rolled a very thin layer of black ink out and to test that it was thin enough I ran a piece of paper across it (it should not stick down if it is the right consistency). Once I had it right I then placed down my paper and using the end of a pen I drew in the sketch. What was interesting about these sketches was that I was drawing them blind, I could not see what marks I was making I had to try and remember where I had started. But this gave them character as opposed to neat refined drawings. Once these had dried I then made up my first colour pallet on the work surface. I then printed the drawing onto that pallet so that the colour would form as a second layer on top of the sketch. 

(Untitled, images above & Below, mono-print, printing ink, zest-it, A3)

Above is an example of what I produced, images from before and after. To help the colours blend together I used a small amount of zest-it, this also created interesting textures and bubble marks which in turn complement the background layer; contrasting the soft and harsh textures. I  then tried this process onto each of the other mono-print sketches I had made, giving them a different colour arrangement that would best complement their subject matter. 

(Untitled, mono-print, printing ink, zest it, A4)

(Untitled, mono-print, printing ink, Indian Ink, A3)

I created the two prints above in a similar way to the first print. I created my colour pallet on the work surface and once ready I printed these onto my sketch. The first one uses zest-it and the second print does not. This again was an experimentation to see what process works best. One thing I did find was that with a few of the prints, the sketch behind lost some of its detail so I used Indian Ink as a third layer to help define parts of the structures that were not pronounced enough. 

Gerhard Richter.

Born in 1932, Dresden, Germany, Gerhard Richter is a visual artist who has produced a wide variety of artwork ranging from; abstract, photo-realistic to glass and photography. He currently lives and works in Cologne. Richter is very much involved in contemporary art and is also involved in monochrome painting. Most of his work is abstract using acrylic and oil paint. In the 1970's he began a particular painting style that combined various styles together that he had previously developed. Richter believes that a 'core model' is constantly working, transforming every visible thing into a still image on a mirror. His work tries to show the fact of this photographic seeing into layers that are ready made. Paintings on a painting. Richter has since developed his won style 'photo painting' which has become very recognised. This style consists of pulling the paint across the damp surface using a wide rubber squeegee. He has refined this technique achieving a balance between structures and deliberate corrections. 

His paintings which have particularly inspired my print work is his series of 6 paintings done in 2006, currently showing at the Tate Modern in London, 'Cage'. Like his previous abstract paintings created using squeegees, the Cage paintings are the results of many layers of paint. Their surfaces are covered in lines where Richter has stopped the squeegee, left brush strokes, other scrapings and also areas where the oil paint has dried and rippled. The paintings remind me of reflections and water or hazy glows over a landscape causing the colours to blend with one another. Also in some of the paintings the texture created looks very coarse like a scratched wall. When creating this series of paintings, he was listening to the music of John Cage and this is why he names the series 'Cage'. Richter is particularly drawn to Cage's rejection of intuition as well as randomness, planning his paintings through structures and also by chance processes. What I am particularly attracted to within Richter's work is his use of and application of colour. I wish to further explore this in my print work looking more closely at how I can print the colour and create my colour pallet in different ways.

(The Cage painting no. 6, 2006, 300cm x 300cm, oil on canvas)

Print - Development

As well as learning the different processes and methods of print we are required to do work in our own time to develop our projects. After visiting the Tate Modern on the London trip I have been very much inspired by the work of Gerhard Richter to explore the use of colour and how it is applied and in this case printed with; the accumulation and dispersion of colour. My intentions are to use the mono-printing technique to capture this idea, but what I am doing could also be classed a process known as 'tonking'. This word originally refers to what painters do when they want to erase something without effecting the rest of the painting, so its the idea of taking something away and I am doing this by printing the pallet I produce. Do do this I have used the work surface as my pallet and create the colours and textures on that surface to then go onto print the patterns made. I focused mostly on the textures created by the ink and the direction in which the ink is moved.

(Untitled, printing ink, A4)

(Untitled, printing ink, A4, with zest-it)

(Untitled, printing ink, A4, after zest-it)

Throughout the process I have been looking at stages at which I can print my colour pallet; the first being the raw block colour and then continuing by distorting the colours using zest-it and fabric to create different textures and to also take away the ink in some places. I find this a very interesting method as it is showing the different colours that can be produced and also the different methods at which you can these. To create the prints shown above I simply placed down the different coloured inks onto the work surface and then using material I dragged the colours across the surface to force them to blend together and produce interesting textures. To create these textures I used the material called scrimp as it is slightly rough in its texture and helps to create interesting lines within the colours. As previously mentioned I then added a liquid called zest-it which waters down the ink eventually dissolving the colour if left long enough. I found that using zest-it forced the colours to blend and mix together in an interesting way producing contrasting textures against the ink that wasn't touched by it. As well as this I also looked at printing with different colours onto different materials as well as in different shapes to show different textures and applications of colour. 

(Untitled, printing ink, on canvas, using zest it)

(Untitled, printing ink, on acetate)

To create the prints shown above I applied a similar process to the one used for the prints spoken about previously. For the first print I created my pallet on the work surface and so that the canvas would pick up the colour more successfully I added a little bit of zest-it onto the canvas its self and then placed it onto the colour pallet. I found the outcome quite interesting but the colours were not as strong as I had hoped. However where the zest-it had picked up colour, they had blended together where as the remainder of the pallet did not mix or spread so created a dry texture on the canvas. The print below was created by placing a piece of acetate onto the pallet. This printed well creating thick texture. But what I did find, is that due to the printing material being completely none absorbent the ink took a long time to completely dry so when put up on the wall the colours dripped down into each other and in some places where the ink wasn't so thick it rippled creating great texture. 

Dry Point, Collograph & Lino cuts.

Over the past few lessons we have been shown how to produce 3 more different types of prints using the workshop. 

The first was dry point. I already knew how to produce dry points due to studying my foundation course at DMU. However it was helpful to refresh my mind on the process. Dry Points can be created using various materials; metal plates, acetate and even thin cardboard sheets (takeaway pot covers are good for this). The first print was created using a small square metal plate which had to first be polished to give a fresh clean surface to work from and also it had to be sanded down to curve the sharp corners. If the corners were not smoothed out then they would tare the paper when sent through the roller machine. After preparing the metal plate you then scratch your design into the surface. Once you have finished this you then use blank ink to cover the whole plate making sure the ink has gone inside the lines you have created. After this, using a material called scrimp you rub off the ink which is not inside the small lines. After you have removed what you can you finally use some paper to get off any extra ink that wasn't taken off with the scrimp. Your plate is now ready to print with, however first you need to soak your paper. Once this has been done and the paper has been blotted you can send your print through the press. You can continue to print with the plate, you do not have to use black ink you can use any colour. 

(Untitled, dry Point using metal plate, black ink, 6cm x 6cm)

Like the metal sheet the same process applies with the other materials like acetate and card, however these surfaces do not need to be cleaned first. You can use many things to scratch into the surface like dry point and etching tools and also sand paper. With dry points after preparing your printing plate the key thing is to always remember to soak your paper before hand. This helps to pick up the ink from the scratches made. 

(Untitled, dry point using card board, coloured ink, approx A5)

This next print technique demonstrated to us was collographs. In its most simple definition collographs are a form of relief printing. They are created by either marking the surface or sticking things onto the surface (usually a piece of card). You can stick a variety of things onto the surface like sand, leaves, paper and fabric. Once you have created your  design you then seal the surface using either a varnish or form of lacquer. Once this has completely dried, like the dry point process you then ink up the surface and the remove the ink but this time instead of using scrimp you can use scrap fabric and gently rub off the ink, otherwise you may risk rubbing off some of your relief textures depending what they are and how well they have been glued down. You take off the excess ink until it is no longer shiny. Your collograph is now ready but again you must soak your paper first before printing. You can continue to use your print as many times as you wish. 

(Untitled, collograph, A5)

(Untitled, coloured collograph print, A5)

(Untitled, collograph print using only black ink, A5)

Next we were introduced to lino cut printing. This again is a form of print which involves you marking the surface you will print with. You begin by getting a piece of lino and drawing on your design firstly in pencil and then again in pen so that it wont rub off when you need to repeat the print. You then draw out a template of your piece of lino onto a plain piece of paper which will end up acting as your guide when it comes to printing. Once you have the design/ drawing you want and you have your guideline you then begin by cutting out the parts that you want to be left completely white, untouched by ink. The next stage involves you rolling out the colour you want to use for the first layer. With lino prints, the trick is to start with the lightest colours and get darker. Once the lino is ready and inked up you can send it through the pressing machine making sure you place it carefully onto the guideline you made previously. Below is my beginning print, as you can see the parts I have cut out are white and these will remain so throughout the process. 

(Untitled, print no.1 of my lino cut, A5)

After completing this first stage you wipe off the ink on the lino. You can then begin to cut out the next layer of the drawing which will remain as the first colour you used. Once ready you can now roll out your next colour that you wish to print with to form the second layer. Like before you then print with this making sure that you follow the guidelines so that you are printing on top of your previous print in the correct position. You can continue this process as many times as you wish, removing the next layer of lino and changing the colour, making sure to follow the guidelines of your template until your design is complete. This process is a very long one which involves a lot of patience. I found it quite enjoyable it was almost therapeutic.

(Untitled, print no.2, A5)

The print above appears blotchy and this is due to there not being enough presser applied when sending it through the machine. This can be solved by either sending it through again or asking for the technician to renew the paper used to apply the pressure. As you can see below, the third print is a lot stronger due to there being the correct amount of pressure in the press. 

(Untitled, print no.3, A5) 

Print - Mono-print.

The set theme for term 1 print project is 'Accumulate and Disperse'. Our task consists of looking at contrasting ways in which things are accumulated and dispersed or an idea that expresses this, whether it be things in the home or outdoors. Our first task was to produce a range of prints produced outside and inside without using the printing studio but exploring different techniques.

In the print lesson we are taken to the print workshop and are shown demonstrations of different printing techniques. I did do the foundation course at De Montfort last year and extremely enjoyed print but it was nice to be reminded of the techniques after such a long summer. The first process we were shown was the process of mono-printing. We used the roller machines for this and also our own hands to create prints direct from the pallet on the work surface. Mono-printing in its basic description is transferring a plate of ink onto paper. The ink cannot be too thick or runny otherwise when sent through the press it would smudge under the pressure of the roller. I would say mono-print is a very quick technique as you do not need to prepare the plate with a drawing or textured surface before hand. 

(Untitled, printing ink on paper, A5)

Above is a print produced using a plate of ink and sending it through the roller. I created this by layering up the ink, beginning with one colour, printing with that and then layering the plate with a range of other colours that would contrast one another. To create the marks I simply use the roller as I wished only rolling it in a certain way on the plate to create lines of colour as opposed to blocks of colour. What I like about this technique is the idea of layering the colours together to give it an almost 'painting' like appearance. 

(Untitled, printing ink on newsprint, A3)

This print was produced in a slightly different way. Instead of inking up a plate, I simply used the work surface as my pallet. I rolled out the ink to the point where I could run the paper across it without it sticking to it. I then placed the paper down lightly onto the rolled out ink and using the end of a paint brush I drew in my idea. This then allows me to draw out an image bringing up the ink only where I have applied pressure. This is a quick and easy process to do without using the roller. 

(Untitled, printing ink on newsprint, A3)

Like the print above this was also produced using the pallet of colour made directly onto the worktop. However instead of using a fine pointed object to draw my idea I applied pressure using my hands. I rubbed on the paper in different ways to create contrasting textures and tones within the ink. Again this technique is very quick and direct allowing you to create an image without using machinery.