Ramona Printmaking Two

Assignment 5: A print from memory

‘Produce one large (A2) collaged monotype on an imaginative theme, demonstrating inventive and experimental techniques.’

I had been considering the topic of this assignment for a while, reading ahed in the course materials I knew it was coming up and thought about what memories I might want to focus on. 

Muscle Memory

I started cycling to work most days in January 2021 as due to the pandemic as I didn’t want to get on public transport. I hadn’t cycled since I was 15 but getting the train was causing my anxiety to spiral so I was determined to do it. I now cycle between 25-30km Monday-Thursday. I was thinking about my assignment and I realised I had cycled most of the way home essentially in autopilot. I was still watching for traffic and being safe but was able to think about my work for the entirety of a 50 minute cycle. 

This got me thinking about muscle memory and how the body is able to remember movements almost independently to the conscious mind. I thought this could be an interesting concept to explore for the assignment. 

Video

I began with filming my commute to and from work via a GoPro. 

Notes on video

The light changing, night to day, day to night. 

Movement of the shadows.

Lights on the river. 

Passing people and cars.

tree arches overhead.

Other Memories

During my year of cycling most days I’ve had two notable accidents. The first was as I was crossing roundabout. Despite being most of the way across the sun was low and a drivers dusty windshield meant he couldn’t see me. He drove into the side of me and my bike, hitting my leg into the gears, knocking me over and bending my bike frame rendering it useless. 

My memory of the incident is very clear and although I know it isn’t possible at the time it felt as though it was happening in slow motion. I remember thinking that my legs were going to be broken and I would be seriously injured. Luckily I was bruised and bloody but generally ok. However the impact caused whiplash significant enough to give me a concussion. For the next couple of days I struggled with confusion, short term memory loss, mood swings, headaches, balance issues and nausea. After a couple of days I ended up in A&E for assessment an anti nausea injection and was signed off work for the remainder of the week. 

Pictured below, the roundabout where I had my accident. (Google Maps 2021)

My bent bike frame and various bruises.

The second accident was in October. On my way home, on a very familiar road on a familiar route. I noticed a woman on the pavement on the phone holding a child’s bag. Then a small child walked into the road from between two cars which meant I couldn’t see her until it was too late. I hit my breaks hard, the handlebars striking me in my abdomen and ribs. The momentum (It is on a hill) caused me to go over the bike, hitting my head (luckily my helmet) then cheek and jaw on the road. 

Unlike my other accident where every moment felt slowed down and hyper focused. I don’t remember much of the accident itself but have been able to work out what happened based on the injuries I sustained and that I wasn’t on the bike but away from it when I sat up on in the road. 

 A clear part of the memory for me is when I initially tried to breathe in and due my diaphragm and ribs being hit all that happened was a very loud weird scream. The noise itself frighted me as I did not know I could make a sound like that. When I was able to speak I checked that the child was ok, which she was, luckily I had managed to miss her entirely. I slowly sat up, checked myself over, assured the bystanders that I didn't need an ambulance and began to very slowly cycle home as I just wanted to get away. I had difficulty focusing and was crying a lot. When I got to a quite park I called my friend and she and her husband came and picked me up in a car.

Again I sustained a concussion and felt very confused and weird. I had severe double vision for about an hour or two and short term memory loss.

The road where I had my accident (Google Maps 2021)

Bruising to my face

 I find the human body fascinating. On the one hand, my brain is able to remember routes and take in masses of visual and auditory information in at once. Without much thought I am able to get to where I need to go despite the fact that I can really struggle with directions and map reading. On the other hand, a jolt or knock to the head can quickly change your ability to perform normal tasks or remember what has just been said to you (this is a test I had to perform in hospital which I failed miserably). In addition to this my brain has processed and recorded these incidents in different ways, experiencing time ‘slowing down’ hyperreality when being hit by a car and virtually nothing other than the physical pain and screaming of the other accident. The body and the brain remembers. After these traumas when returning to riding my bike, and especially when travelling through the areas the incidents happened I would experience anxiety and intrusive thoughts of the accident. 

Please note: I am completely fine physically and emotionally now! I have no lasting injuries and the driver who hit me was kind enough to buy me a new bike. The mother of the 3 year old sent me money to replace my helmet which was damaged. 

Initial Ideas and Concept

In this unit I have stuck to traditional canvases printing on mostly white paper. The creative nature of this brief caused me to consider what I could do outside of this. Art is often viewed passively, it is hung on a wall, possibly behind glass and the viewer views it. We are taught from our first experiences with art that you should not touch the piece, museums being full of velvet ropes, wires with signage reminding you to ‘not touch’. I wanted to explore the concept of an object designed to be picked up, held and played with. 

As maps were a key part of my design ideas I looked into the idea of printing on paper that folded up like a traditional map book. I researched different folds and printmakers who had created artist books by folding larger pieces of paper. Within portraiture I had also looked at the work of Bisa Butler who creates large quilted pieces. I wondered if it would be possible to combine the two concepts and create a print on fabric that could be folded scrunched up. Printing on fabric could give the viewer a more tactile experience which I was keen to explore. 

Concertina Artist Books

Concertina book Five Speeches by Sir Kenneth Clark illustrated with linocuts by John Giffiths. (Clark and Griffiths, 1956)

Deborah Walker paints continues landscapes on concertina folded pages which act as a view finder in a wider scene. Although the areas are not geographically situated next to each other, Walker uses light and dark and the continuation of line to tie each composition into the next.  (Walker, 2020)

The nature of concertina books invites the viewer to touch them. In order to see the piece in it’s entirety it needs to be unfolded. (Trevethan, 2010)

Ruth Thomas combines prints, collage and stitching within her concertina book Time to Stop and Stare (Thomas RSW, n.d.)

Reef (Thomas RSW, n.d.)

Source Material: Topography  

I wanted to include elements in my print that would give the sense of a map. I began be looking at the route itself. 

Route planned out on satellite map

Route planned out on satellite map

Route broken into pieces 

Digitally collaged route segments on A3 to gain a better overview of route.

Artist inspiration: Paula Scher

Paula Scher is a graphic designer who is known for using typography to create bold posters. I first because aware of her work watching the documentary series on Netflix, Abstract. In addition to her graphic design work for clients they showed her typography maps she creates. Within these pieces she will pick a topic or theme and create a map highlighting that topic. Where we usually think of maps showing terrain and roads, Scher’s convey the the environment in entirely different terms, from house prices to median house prices.

Europe Rail (Scher, n.d.)

Tsunami (Scher, n.d.)

Section of U.S Geography and Climate (Scher, n.d.)

Circuit cut mask

I decided that I wanted to include basic forms of the roads and land. On an A2 piece of paper and studying the map I drew the roads in thick black line. My plan being to attempt to use a circuit cut machine to cut the design into acetate, this would allow me to use it a a mask for the mono printing process. 

Editing the image for the circuit cut machine. 

Cut acetate pieces

Test Fabric Samples

Having only printed on fabric once before (and not successfully) it was essential to see if it would actually work. I created various test pieces exploring different mark making and impressions that could be made via the gel plate. 

Paint mixed with water and blown with a straw Dry large brush Medium dry brush layered

Leaves put on plate and moved between layers Thread put on plate and moved between layers Paint rolled over slightly oiled plate Pain mixed with water and blown 

Paint on plate then sprayed with water Text transfer Marked layers 

Ghost of the leaves from other print Areas removed with scrunched paper Thread put on plate and moved between layers

Print plan

Use the acetate masks to create the overall map form.

Use expressive mark making to convey light and sense of place.

Sew individual panels together to make collaged map.

Using the acetate mask I experimented with layering different colours over each other. I also wanted to explore with combining photos collaged within the print using printer transfer paper. 

Looking at the grey map pieces, I hated it. The image was not clear and matching the pieces together was impossible. I decided to change my approach. Using my gel plate I built up layers on a single piece of A2+ fabric. This was much easier to control and to create a rich depth of colours. 

Using smaller pieces of fabric I created different textures for appliqué details for the map. I created crow stamps from soft lino and a brickwork texture that I layered to form my workplace. 

Paper plan and the arranged elements on the map. 

Final Piece: Muscle Memory 

I wanted to develop a print that depicted, in an abstract way, my experience of cycling during the winter months. The lights of cars and reflections of the river. The map’s roads are unlabelled and vary from bold and sharp to faded and blurred. 

I wanted the final piece to be tactile. Something that required you to hold it and touch it in order to see each part. For this reason I opted to print on fabric, adding appliqué elements and quilted stitching to mirror the gridlines seen in a map. 

I believe the final piece is impactful and definitely was an experimental process for me. Working with fabric as a medium was a very different experience than working with paper, being able to fold, scrunch and bend the print allowed for a much more relaxed working environment. 

Although it differs greatly from my initial design and even the process that I had planned completely changed part way through I am happy with the final piece.   If I were to complete the process again, I could have hoped to skip the steps where I made mistakes and wasted time, however I don’t think I could have created the final piece without them. 

References

Clark, S. and Griffiths, J., 1956. Five speeches. Lion and Unicorn Press.

Germain, L., 2019. Monoprinting on fabric - samples and ideas. [video] Available at: <https://youtu.be/zfDRsgzLY0E> [Accessed 12 March 2022].

Scher, P., n.d. Europe Rail. [Acrylic on Canvas].

Scher, P., n.d. Tsunami. [Acrylic on Canvas].

Scher, P., n.d. U.S Geography and Climate. [Acrylic on Canvas].

Sims Reed Gallery, n.d. Portrait of Paula Scher. [image] Available at: <https://gallery.simsreed.com/wp-content/uploads/2020/09/Portrait-Paula-Scher.jpg> [Accessed 31 March 2022].

SpeedballArt, 2016. Monoprinting on Fabric with Speedball® Screen Printing Inks and Gel Printing Plates. [image] Available at: <https://youtu.be/k9IuIiSM52U> [Accessed 12 March 2022].

Thomas RSW, R., n.d. Reef. [Gelatine printed, stitched].

Thomas RSW, R., n.d. Time to stop and stare. [Monoprinting, collage, stitching].

Project 2: Unusual textures

For this project focused more on the technique that was to be used rather than the subject for this print. Going slightly against the suggested method within the written material. Within previous projects in Printmaking One I have learnt that I really do not enjoy collograph as a form of printing and find it especially difficult to get good impressions of the plate. 

https://ramonaocaprintmaking.tumblr.com/tagged/part4

I began by making the textured card plates using a range of waste materials I had in the house. I made all the plates in a few hours and then was able to let them dry overnight. As I was making the plates I considered how I wanted to use them and immediately thought of cityscape using the different textures against each other to depict different buildings or parts of buildings. 

I was again inspired by one of my favourite artists of all time, Mary Blair, and her concept art for Disneyland’s Small World ride. The layers of geometric shapes I felt would work well for this printing style. 

Concept art for Disney’s Small World (Blair 1960-1964)

Rather than sketch out my ideas, I cut the texture card plates into various sizes and shapes and on a strong piece of cardboard with an A3 frame marked on it, began to lay the pieces down. This allowed me to rearrange the pieces and see different compositions. I am behind schedule with much of my work and enjoyed the process of just doing something rather than spending lots of time thinking about the idea too much. The physical process of picking up the pieces and arranging them was an enjoyable one. 

Textured pieces being laid out on the base cardboard.

Final composition being sealed with PVA. 

Printing Plate

Prepared Papers

Again rather than spend an extended period of time on the planing of this print I wanted to focus primarily on the experimentation aspect of it. I collected various art materials that I had around the house and set them out on the table. Using the same A3 window guide I used for the collograph plate I began to prepare the papers. I focused using squares and rectangles that I hoped would compliment geometric buildings of the printed layer. 

I focused on art materials that I either rarely use and none of which I have combined with printmaking before. From top left to right, pro marker, watercolour with diluted acrylic paint, soft pastels and coloured pencil. 

Prints

Inked plate

Test Print

Prints on prepared papers

I find this method of printing very tricky to get right. I felt very positive about the pastel print as I was doing it but when it came time to remove the paper it fell apart leaving large areas stuck to the plate. Although the prints vary greatly in overall result it has shown me how other materials could be used in conjunction with printing but perhaps with a more stable type of printing such as lino, mono etc. I can see potential in all the materials. The plate textures have printed at different qualities on the different prints. Some very clearly and some with very little impression at all. The bubble wrap made some interesting patterns and the egg box card which is very textures has transferred well (this can be seen on the triangular roof areas). I used a cardboard packing material in a few areas which has a waffle pattern on, placed one way the squares create and negative impression and the other way a positive. I really enjoy the impressions that these make and I’m please I hoarded this material for so long! 

Final Print

Project One: Inspired by Memory

The first requirement of this project was to think of a theme or subject ‘Your subject can be a place, person or an event which has a strong meaning and associations for you.’ 

I have very vivid and detailed dreams that I will remember for a long time. I felt that these dreams might work well as a subject as the overall surreal sensation would lend itself well to experimental mixed media print. I began by creating a digital collage of the imagery related to each dream I was considering. I chose not to go into detail of the narrative and events of the dream which is often nightmarish and focus on the overall tone of the dream. I gave each collage a name to help me to solidify the memory and offer a snapshot to a potential viewer. 

Circus crew abuse

House sitting breakdown

Stealing and fixing the face

Foster child, damaged ear.

Each dream is still very strong in my memory not only in narrative and images but how they made me feel is a large part of the lasting impression. I selected ‘House sitting breakdown’ as the dream which I wanted to explore more as a concept for a print. 

Developing ideas

I wrote out key aspects of the memory and considered which parts had strong visuals. I listed possible techniques or materials I could use within the print.

Crocodile

One of the strongest images within the dream is the crocodile. After using the internet for source material I sketched some ideas for a potential linocut. 

(Cage Diving, Victoria Falls, 2021) (Unknown, n.d.)

(The Most Extreme Fandom, n.d.)

Sketches

Possible scale styles

Library 

I wanted to include an element that linked to the old library setting in my dream. My first and most obvious thought was to use pages of books within the piece, maybe using chine-collé. However, this didn’t feel quite right as the books were not open but stacked within the shelves. 

I thought about what old books looked like, dark leather bound covers again not hugely inspiring. Then remembered the marbled paper used within some old books. I decided to research this further.

I watched this interesting documentary short made in 1970 detailing the marbling for book restoration in the UK.

The Art of the Marbler (Bedfordshire Record Office of Cockerell marbling, 1970)

An example from the V&A collection 1860.

Marble experimentation

I thought that marbling would be an interesting texture to add to my print and would lend itself not only to the imagery of books but would give an impression of liquid and potentially scales. I created my marbled papers using a water bath with tylo powder to increase the water density and marbling inks. 

Wooden Door

I knew that I wanted to find a way to include the texture of the door in my dream which breaks apart. I researched using wood grain as a relief and found a tutorial on the Handprinted website. Following the tutorial, I scorched the pieces of wood and used a wire brush to define the grain further. Finally I sealed the pieces of wood with oil.

I found that the woodgrain printed very well on some fine handmade papers I had, unlike the tutorial which used a flat piece of wood I used a chopped log. The thin paper was easier to work with due to the flexibility. 

Composition

I now had different elements that I wanted to use: the linoprint crocodile head, marbled paper and wood texture. I considered how I could combine these together. I wanted to challange myself to use a different paper size; this design is to scale for an A2 piece of paper halved along the short edge to create a wider narrower surface. This also creates a panoramic style view which adds dreamlike nature of the composition.

Following my composition plan I began to collage my prepared papers. This process was both enjoyable but difficult as the glue would pick up smudges and marks. I wanted to ensure my prints looked clean and high quality so this was very stressful! 

Collaged papers and linocut crocodile printed over the top.

Final Prints

I surprised myself with how much I enjoyed the process of creating these prints. I experimented with a lot of techniques and mediums that I have never previously tried which made process interesting and fun!

The final prints fit my original concept, retaining a fragmented, dreamlike quality. The patterns create a sense of movement, like water, or a dreamy haze.

From a technical perspective, the thickness of the paper and the glue have made the piece slightly buckled. Revisiting this technique I would want to consider my paper choices further maybe working with finer types. If the final print was mounted it could still look well finished.

References

Bedfordshire Record Office of Cockerell marbling, 1970. The Art of the Marbler. [video] Available at: <https://youtu.be/Vyga8VMWXKg> [Accessed 29 December 2021].

Blog.handprinted.co.uk. 2019. Relief Printing from Wood Grain. [online] Available at: <https://blog.handprinted.co.uk/2019/04/18/relief-printing-from-wood-grain/> [Accessed 20 December 2021].

Cage Diving, Victoria Falls, 2021. An albino crocodile underwater in Victoria Falls. [image] Available at: <https://www.victoriafalls-guide.net/nile-crocodile.html> [Accessed 29 December 2021].

Digitalcollections.lib.washington.edu. n.d. Decorated and Decorative Paper Collection. [online] Available at: <https://digitalcollections.lib.washington.edu/digital/collection/dp/search> [Accessed 29 December 2021].

Revell, S., 2016. Divers oiled colours: Exploring the history of marbled paper in the National Art Library • V&A Blog. [online] V&A Blog. Available at: <https://www.vam.ac.uk/blog/museum-life/divers-oiled-colours-exploring-the-history-of-marbled-paper-in-the-national-art-library> [Accessed 29 December 2021].

The Most Extreme Fandom, n.d. Crocodile. [image] Available at: <https://the-most-exteme.fandom.com/wiki/Crocodile> [Accessed 29 December 2021].

Assignment Four: Portraits 

I started this assignment with a mind map to consider what objects or elements I could include within my self portrait. The one idea that really stuck out to me was including my tattoos. I was interested in how I could incorporate them within the print from both a compositional and technical standpoint. I wrote about this in more detail in a separate post.  

https://ramonaprintmakingtwo.tumblr.com/post/661472200924250112/tattoo

In my previous prints in part four I focused on a head and shoulders composition so I wanted to create an image that focuses on the full body. I wanted to body to fill the frame and looked at Matisse’s Blue Nudes for inspiration. 

The Nu Bleu series are constructed from painted paper cut-outs stuck to paper a mounted on canvas. The female form, seated with legs crosse,  fills the canvas in some instances being partially cut off by the parameters of the canvas in the case of Nu Bleu III. 

(Matisse, 1952)

‘GLENN LOWRY: Matisse’s cut-outs often appear effortless. But the work was arduous, and sometimes he struggled. This was especially true when he began creating the Blue Nudes. Jodi Hauptman:

JODI HAUPTMAN: His assistants describe pinning and unpinning and repinning and pinning again and cutting the bits of paper and building the figure out of bits and just not getting it right… for weeks and weeks.

GLENN LOWRY: In frustration, Matisse stopped cutting and turned to drawing. He sketched a seated female nude over and over’

(Henri Matisse. Blue Nude II. 1952 | MoMA, n.d.)

Inspired by Matisse I began to sketch my body in a semi abstract way focusing on filling the frame and the body shape. 

Initial sketches

To help me with the body positioning my made a basic cardboard split pin model which I could pose and bend into different positions. I preferred this to a traditional artists mannequin as I wanted to consider the body a two dimensional way. 

More sketches

The body positioning of this sketch is strong and I wanted to develop it further. I sketched another figure to the scale I wanted to print. 

In order to focus on the shape and form I decided to work with paper cutting.

Paper Cut Figure 

I moved the body parts around the paper but struggled to find a composition I was happy with. I returned to my sketchbook and eventually settled on a form that I liked. Although inspired by Nu Blu I wanted to ensure it wasn’t just my interpretation of an idea but developed to better represent me.  I carved both my body and additional limbs into the lino. My body is incredibly awkward. Being dyspraxic I often feel at a disconnect with my limbs as I walk into things or can’t seem to sync my brain to my hands. I have always been long, my arms and legs all over the place. By literally disconnecting the arms of my self portrait I want the viewer to gain a greater insight to my perception of self. 

Carved Layer

Test Print

Mono-printing

I wanted to explore using mono printing to include my tattoos in my self portrait. In Printmaking One I used an image transfer technique where a layer of acrylic is rolled onto a gel plate and a black and white image (printed on gloss paper) is pressed on the plate. The acrylic adheres to the negative space but not the black areas. Another layer of acrylic in a lighter contrasting colour is rolled over the top and the printing paper pressed to the plate lifting transferring all layers to the paper. 

Previous mono-printing experimentation

I wanted to see if the technique would work for transferring photos of my tattoos. I scanned and photographed my tattoos, ensuring high contrast. I collaged the images together ready to be printed onto gloss photography paper. 

Skin Scans

Edited images

Monoprint Experiments

Initial experiments with magazine pages came out fairly clearly however printing onto the fabric was unsuccessful. 

Tattoo monoprint tests.

Colour choice

People often comment on the juxtaposition of my clothing to my tattoos. The majority of the time I dress in all black and have done since my early teens, however, my tattoos are as colourful as possible. I love CYMK colour, I have used them in range of  pieces in printmaking in Part One and there is something that always draws me to the highly saturated colour scheme. In addition to this the colours have strong ties to printmaking and image reproduction which felt fitting to a self portrait. 

Monoprint Layer

I began creating my the monoprinted layer for the first part of the print. I tried to focus on building up the print in different areas however the impression of the tattoos was very weak. They were not coming through clearly and I was unable to get the impact that I wanted. 

Re-Design

Un-happy with how the monoprinted layers had turned out I decided to change the printing technique and create a linoprint. Using my tattoos I created a A3 composition where I collaged the various designs from across my body. 

This became possibly the most ambitious carve I had ever attempted. Not considering the complexity of the design but motivated by the subject and wanting to progress within the course I continued with the work. 

With the re-design of the background of the layer I began re thinking the body. This is definitely part of the problem of working on a piece for an extended period of time. My job has been particularly overwhelming in the last few months which gives me less time to physically create work but I think about it a lot. In this time I turn around the ideas over and over in my head which isn’t always productive! 

I returned to my sketch book and re-worked the body design especially considering the the new tattoo layer was bolder and filled the page. 

Additional Sketches

First Layer

Second Layer

Third Layer

Final Print

This print went through a few different versions and took a very long time to pull together. I’m unsure if this was just how the assignment panned out or if it was in part due to it being a self portrait and my sense of self clearly being not particularly clear. Despite the indecisiveness of this process I am happy with the final print. The body form in particular I like as when viewed landscape it looks almost graceful with a strong Matisse dancer influence however when switched to the intended portrait view it is clumsy and falling, much like I often am. 

References

Matisse, H., 1952. Nu bleu II. [Gouache, cut and glued on paper mounted on canvas].

Deranged Kid (Hosai Baido, 1968-1912), Fireman of Tokyo (Kunichika Toyohara, 1868-1912), Dragon Tattoo (Kunisada Utagawa, 1786-1865), 108 Heroes of Suikoden - Tattooed Zhang Shun (Kunisada Utagawa,1786-1865), The Most Popular Actors in Edo, Their Portraits and Their Voices - Tattooed kabuki actor (Kunisada Utagawa 1786-1865), Zhang Shun, the White Streak in the Waves (Kunisada Utagawa,1827-30).

Printmaking and Tattoos

For assignment four the it asks that you consider objects that are symbolic of important to you or capture what is important to you. Although it may seem superficial to some, my tattoos are very important to my sense of self. My tattoos identify me. Without clothes, my hair, jewellery etc, I still look like me when I look in the mirror. I need to consider how I may include my tattoos within my self portrait and wanted to explore other artists who have done so. 

There is a long history of crossover between printmaking and tattooing. In the above Japanese woodcuts from the Edo and Meiji period, the characters pictured are adorned with tattoos. The two mediums developed side by side as the woodblock printing exposed more people to images of tattooed heroes causing tattooing to increase in popularity. Woodblock artists and tattooists were often affiliated with each other some printmakers becoming tattooists themselves as there were shared methods and tools between the two practices.  The terms for traditional Japanese tattooing include Horimono (彫り物, 彫物) which means the carving of images and Irezumi (入れ墨) insetting of ink. The term ‘Horishi’ is used for both tattoo artists and woodblock printers and translates to ‘carvers’.

Traditional woodblock printing tools (Bull, n.d.)

Kyumonryu Shishin (Tsukioka Yoshitoshi 1868) Woodcut print depicting 18th Century Tattooing technique called ‘tebori’ wherein a set of needles is attached to a bamboo rod is rhythmically tapped into the skin depositing ink. 

Traditional tattooing (Western and Eastern) uses strong line work and contrast. This is not only a stylistic choice but a practical one as bold lines help give form to colour which is more likely to fade. This aesthetic transfers well to reduction printing and many contemporary tattoo artists have explored the medium. 

Alex Binnie

Alex Binnie is renown tattoo industry and an essential part of the history of the UK tattoo scene opening the first fully custom studio, Into You in 1993. Binnie’s specialism is blackwork which is characterised by strong bold line work with traditional subjects and and patterns from ancient tattooing practices (Samoan, Maori, Tibetan, Japanese, Filipino, Thai, Taiwanese, Polynesian and Indian).

This understanding of positive and negative, black line, can be seen within his detailed woodcut prints. His is especially skilled at depicting tattooed skin, the tattoos appearing as part of the skin rather than sitting on top like a sticker. This is achieved by creating texture on the skin, rather than clearing the whole area so that it is bright white, creating a greater depth of tone. Should I wish to depict my tattoos in a realistic way this is technique would be something to bear in mind. 

Mark Jelliman

Jelliman has a distinct style and his Japanese influenced tattoos resemble conventional printmaking techniques, in particular the the use of parallel lines to depict tone and curved form. 

Jelliman’s linoprints are very similar to his tattooing although more symmetrical and uniform in shape (geometric shapes don’t work very well on the body as they wrap and warp). Within his printing he uses denser areas of black but continues with the parallel lines. I think his prints are beautiful and I really enjoy them however the techniques aren't suitable for depicting my own tattoos as they are high colour traditional and illustrative in design.

Martha Smith

Smith’s tattooing style is much finer than the previous two artists. Within her bolder outline (good for tattoo longevity) she uses delicate dotwork to create  depth. This would be extremely difficult to replicate this with carving into lino or wood but perhaps it could be achieved with etching with a fine tool. 

Unlike her tattoos Smith’s printing is bolder and uses stronger contrast. The addition of colour in the design of the tattooed woman is an interesting approach, the colour moving outside of the linework and even outside of the figure itself. The female torso print uses a similar technique to the portraits to Alex Binnie, using a range of fine lines to add additional depth of tone. 

Sue Van Gageldonk

Van Gageldonk tattoos have a very print-like quality with high contrast and a good balance of black and white. Whereas the other artists I’ve looked at tend to keep their printmaking and tattoo work separate, Gageldonk uses one medium to influence the other, tattooing images that she created initially for prints adjusting them only slightly. 

The links between the two mediums are longstanding and nuanced. Don Ed Hardy, known for his development of modern tattooing initially studied and worked a printmaker. I want to consider the relationship between the two and how I can incorporate it into my work. I'm unsure about how to depict my own tattoos within my self portrait and I need to explore the best way to do so. 

References

Alexbinnie.com. n.d. Alex Binnie. [online] Available at: <http://www.alexbinnie.com> [Accessed 25 August 2021].

Bull, D., n.d. Encyclopedia of Woodblock Printmaking : Yoshida - Japanese Woodblock Printing : Chapter II : Part II. [online] Woodblock.com. Available at: <http://www.woodblock.com/encyclopedia/entries/011_07/chap_2b.html> [Accessed 20 August 2021].

Egenolf Gallery Japanese Prints. 2021. Egenolf Gallery Japanese Prints. [online] Available at: <https://egenolfgallery.com/> [Accessed 20 August 2021].

En.wikipedia.org. n.d. Irezumi. [online] Available at: <https://en.wikipedia.org/wiki/Irezumi> [Accessed 20 August 2021].

Etsy. n.d. Sue Van Gageldonk Etsy Shop. [online] Available at: <https://www.etsy.com/shop/suevangageldonk> [Accessed 24 August 2021].

Horisumi.com. n.d. [online] Available at: <https://www.horisumi.com/tebori/> [Accessed 20 August 2021].

Howerton, R., 2017. The Art of Tebori — Creating Traditional Japanese Tattoos the Old Way. [online] Tattoodo. Available at: <https://www.tattoodo.com/articles/the-art-of-tebori-creating-traditional-japanese-tattoos-the-old-way-13410> [Accessed 20 August 2021].

Iamfy.co. n.d. Martha Smith Tattoo Shopfy. [online] Available at: <https://www.iamfy.co/shop/martha-smith-tattoo> [Accessed 24 August 2021].

Japan House (Los Angeles). n.d. The Process of Woodblock Printing. [online] Available at: <https://www.japanhousela.com/exhibitions/nature-supernature/process-of-woodblock-printing/> [Accessed 20 August 2021].

Jelliman, M., n.d. [online] Marktattooist.com. Available at: <https://www.marktattooist.com/> [Accessed 24 August 2021].

Jelliman, M., n.d. Mark Tattooist. [online] Instagram.com. Available at: <https://www.instagram.com/marktattooist> [Accessed 24 August 2021].

Museum of Fine Arts Boston. n.d. Object Number 260017, Woodblock Print. [online] Available at: <https://collections.mfa.org/objects/260017/> [Accessed 20 August 2021].

Smith, M., 2021. [online] Martha Smith Tattoo. Available at: <https://www.instagram.com/marthasmithtattoo/> [Accessed 24 August 2021].

Van Gageldonk, S., n.d. Sue Van Gageldonk. [online] Instagram.com. Available at: <https://www.instagram.com/suevangageldonk/> [Accessed 24 August 2021].

Von Huban, L., 2019. "Inserting Ink": the Hidden Ties Between Japanese Woodblock Prints and Traditional Tattoos. [online] Revere Auctions. Available at: <https://www.revereauctions.com/2019/03/22/inserting-ink-the-hidden-ties-between-japanese-woodblock-prints-and-traditional-tattoos/> [Accessed 20 August 2021].

Project Two: Self Portrait

Warm-Up

It is difficult to be objective when drawing yourself and for this reason I started with some exercises to warm up. I began by trying to draw some facial features from memory noting specific qualities of each. 

The drawings weren’t too off the mark however I realised that my own perception is skewed by how I look at myself in the mirror. My lips look fuller to me because I tilt my head up to look at them (if I’m checking my make-up or teeth), from this angle I can see the whole of my top lip. If you look at me straight on, how other people would generally see me, the top lip looks thinner at this angle.

Looking in a hand mirror, I then drew myself without looking down at the page to try and focus more on my observation skills and allowing myself to be uninhibited by the final image.

 Sketches

I then began more formal sketches beginning with drawing myself while holding a hand mirror. The individual features I believe are fairly accurate, however they are not right in relation to each other. The action of turning my head to look in the mirror, moving my face, caused me to loose the position. 

I decided it would be better to work from photos to allow me to draw myself without moving to look in the mirror. In order to map out my face I used the grid method to ensure that the features were correctly placed. I took a range of photos trying to get varied angles. 

Following on from the last unit on Chiaroscuro I tried to consider the tone not just focus on getting the key shapes. I wanted to attempt an etching for this project and tried to bear this in mind within my mark making, primarily using crosshatching for the shading. I wanted my portraits to be honest and spent time marking in the freckles, marks and scars that I have.

Using the grid method allowed me to capture a better likeness of my face rather than the previous attempts that resembled me but not enough that it was identifiable as me. 

Etching

Within part one of this unit I attempted an Urban Landscape using Tetra Pak, (https://ramonaprintmakingtwo.tumblr.com/tagged/urban) the results were mixed and I wanted to attempt an etching again. I felt that this would be a good subject as it would allow me to explore the level of detail that I could achieve.  This time rather than cartons I etched the images into a sheet of acetate. A definite advantage to acetate over Tetra Pak is that the transparency allows you to essentially trace your design with the etching tool. However it is important to consider the impact of our materials, Tetra Pak is a waste product that can be recycled whereas acetate sheets are generally single use. I found that acetate fairly easy to work with however unlike the Tetra Pak it’s difficult to view the marks you have made. I expressed experimented with both small and large compositions, one with four images on one A4 sheet and one the full piece of A4. 

Below is the acetate etching scanned after creating a run of prints to that the etching lines can be seen.   

Printing Process

Like my last attempt, I really struggled with the paper wetness. This time rather than submerging the paper in water and then patting it dry, I used a small spay bottle which I used to wet the paper. I don’t instinctively know if its too wet or too dry so it is mostly trial and error. I found the ink harder to apply to the acetate than the Tetra Pak as the shallower depth of the material doesn't retain as much ink. Trying to clean off areas would sometimes result in too much ink being wiped away. 

Between the various prints there is a wide range of differences. Some being almost unidentifiable and others with a reasonable sharp impression. Although not technically very good it is interesting to see the textures produced, some of the prints have an almost spectral quality about them. I wondered if there was another way I could use these images outside of simply displaying them as prints.

I thought that one of the issues with the previous portraits was the scale. Each one being a 1/4 of an A4 page, perhaps the lines being so close together, and the features so small didn’t lend itself to the medium. 

I decided to try again with a larger composition, this time the portrait being A4. On my first attempt the paper was not nearly wet enough. After the first print however I started to get the wetness right, which was very exciting after so many failed attempts! 

Final Print

I am really pleased with the final result. Often, if I struggle with something new I will loose motivation in attempting it. When I am studying and trying to meet deadlines, if I’m not confident I can get a strong outcome, I will revert back to a printing process I am more comfortable with. This has encouraged me to continue to explore etching and see what I can achieve. 

Project 1: Portrait of a friend

Working from various photos I began making some initial sketches of my friend Georgina. Inspired by the work of Bisa Butler I wanted to approach the drawing using different colours to that I would usually use. I tried to focus on the various tones and use various colours to replicate them, yellows as the highlights, purples/reds for the shadow. 

Georgina is a fun silly lively person and I want my portrait to capture this aspect of her personality. Her love of colour (as seen in her constantly changing hair) will hopefully be conveyed in the final print.

Photo Reference

Initial Drawings

I struggle with proportions and capturing the likeness of the person. After a few attempts I became frustrated and decided to use the grid method to enable me to map the face accurately. 

Print Design

I wasn’t sure how I would be able to convert the pencil drawing to a printable image. Using photoshop I converted the image to a cutout design, reducing the number of colours and simplifying the shapes within the image. I edited the image further refine different parts of the composition and then layered a rough outline taken from the drawing to envisage what the print may look like. 

I created a rough outline for the the line work layer and overlaid this over the cutout design. The overall composition needs some reworking but it helped to get an idea of what the final print may look like. 

Printing Process

I started by cutting the line work on lino. I tried to be mindful of my carving and create a wider range of line thickness. After taking a test print I did some additional tidying and editing of the line work.

I was unsure about how to progress with the colour. Initially I was considering converting the cut out design into a multi layer Lino-print but I felt the rigid colour application was stepping away from the original drawing concept. The image started to look more Pop Art whereas I wanted a more painterly approach. I decided to use mono printing for the coloured layers to allow a more stylised application of ink. 

I cut three masks from pieces of acetate for different elements of the face. Using acrylics on a gel plate I blended various colours together for each layer. This was reasonable successful but I did struggle with the consistency of the acrylic, sometimes thick and drying to quickly and sometimes too runny and sloppy. They are old..I think I need to update my materials!

Final Prints

Boy I (Undated), Boy IV (Undated), Boy 8 (Undated), Frenchman (Undated), Head on Stick (Undated),Proud Man (Undated) and Wandering Man (Undated). 

Paul Wright, monoprints

Wright is both a painter and printmaker. Using the medium of monoprints Wright approaches his portraits in a very painterly way. Using dynamic brushstrokes and energetic mark making to depict the sitter. When creating a monoprint the artist has to work quickly, ensuring the ink doesn’t dry, this speed is captured in Wrights prints. The overall impression of the final image is that sitter is mid movement, turning to look at the viewer. 

Wright ‘seeks to capture a vitality’ and whilst his subjects are recognisable, they are ‘glimpsed rather than exposed’. (Wright, 2021)

Although he does work in colour, the above prints, highlight what can be achieved using just black ink and the negative space of the white paper. The density of the ink applied creates a depth and tone within the portrait allowing a nuanced form. 

Moving forward forward with my own portraits I need to consider what printing methods to use, Wright’s work is a good example of successful mono printing. 

References

Modern Artists Gallery. n.d. Paul Wright Monotypes | Modern Artists Gallery | Contemporary Fine Art | Oxfordshire. [online] Available at: <https://www.modernartistsgallery.com/paul-wright-monotypes> [Accessed 18 July 2021].

Paul Wright. n.d. Paul Wright - Artist. [online] Available at: <http://www.paul-wright.com> [Accessed 26 July 2021].

Lucy Jones with Her Walking Stick (1996), A Handful of Tears (2013), Lucy in the Sky (2005),  Just Sitting (2005), Going Swimming (1997), Sitting (2015)

Research: Portraits

Lucy Jones, painter

Lucy Jones is a British painter who is best known for her self portraits. Her paintings depict herself, a woman with cerebral palsy, often looking at the viewer. In an interview within the Art of Living Jones describes this relationship with gaze; ‘I look at you. You look at me. I let you look at me. YOU PROJECT ON TO ME.’ 

As a disabled person, Jones is used to being looked at, when she is walking with her husband, on holiday, living her day to day life. Within her paintings she is able to have control over this gaze and challenging the bias or preconceptions the viewer may have. Jones reflects on her work ‘My work is not didactic and does not have a narrative. It’s a conversation with you, the viewer, about being human’. In Just Sitting, the words ‘I think you are marvellous the way you cope’ are written (backwards) across the canvas. When including text within her work Jones often makes the viewer work to understand the meaning, both by using ‘mirror writing’ and often low contrast between the words and background. This could be for the viewer to experience Jones difficulty with written words (she is dyslexic) or perhaps to view their words from her perspective, painting from a mirror image of herself. 

She paints the reality of her body, legs turned in, tilted mouth and stiff fingers both in moments of joy and depression. In A Handful of Tears, Jones portrays herself after falling, crying on the floor, which is part of the many realities of her lived experience. Jones often uses unnatural colours within her skin which is indicative of the mood of the artist. 

Lucy Jones was not always comfortable with painting herself. When she first started her career she primarily painted land and city scapes. 

‘She was disinclined to look at herself, let alone paint her own portrait because she disliked the way she had been all her life.’ (Whitford 2007)

Given the sparse representation of disabled bodies within art and popular culture, the practical limitations of her body and her experiences of being ‘othered’ it is understandable that to sit and analyse her appearance would be challenging. Another reason she was reluctant to depict herself was that she she didn’t want to be viewed as a ‘disabled artist’. 

References

Art of Living: Lucy Jones Painter, 2019. [Radio programme] BBC Radio 4.

Barnett, L., 2007. Portrait of the artist: Lucy Jones, painter. [online] The Guardian. Available at: <https://www.theguardian.com/artanddesign/2007/apr/17/art> [Accessed 19 July 2021].

Flowers Gallery. n.d. Lucy Jones. [online] Available at: <https://www.flowersgallery.com/artists/36-lucy-jones/> [Accessed 19 July 2021].

Jones, L., Kirby, J., Hubbard, S., Collins, J. and Whitford, F., 2006. Lucy Jones, Looking at self. London: Momentum.

Detail from The Princess, The Princess (2018), Detail from A New Dawn (2020), Detail from Moses Life size portrait of Harriet Tubman (2021), Detail from Forever 2020 portrait of Chadwick Boseman (2020), Detail from Dahomey Amazon (2019), Detail from Black Star Family; First Class tickets to Liberia (2018), Detail from The Mighty Gents (2018),  Dear Mama, Detail from Dear Mama (2019)

Research: Portraits 

Bisa Butler, textile artist

Originally trained as a painter, Butler began creating quilted textiles in 2001. Her work celebrates Black identity, history and culture, depicting a range of people from family members, old photographs, significant individuals and historical figures. 

In the short film Quilting for Culture, Butler discusses the influence her Howard University education had on her artistic style, taking part in the active unlearning of the traditional European influenced painting practices and embracing African and African American aesthetic. Her subjects often look directly at the viewer forcing you to look them in the eye. They are strong, powerful and proud, with bright colours and West African textiles. Butler’s portraits are unapologetically, unequivocally black. 

As she explains ‘I never want my art to show my people in a bad light, we are  people who have come a long way, we do struggle still, there’s still a lot of social ills that are effecting my people so I wanted to address it but I didn’t want this paternalistic view like ‘poor them’. I’m not interested in that. I’m more interested in look what we can do.’

‘When people look at my work, I want them to learn something. If you’re not black, and young black boys on the street make you feel nervous, I hope that it clicks, that this person is human, he has a soul, he has wants and dreams and wishes. I try to put all that in the gaze itself and the pose. So that people will be confronted with someone who is so human you must see them as an equal.’

In Not Your Negro (2019) we can compare the quilted portrait to the original photo Negro in Greenville, Mississippi (D. Lange 1936). Lange’s photos were primarily taken to document the struggles of the depression era. The sitters are not referred to by name but by their role in society - in this instance nothing more than ‘Negro’. In the photo we see patched, shabby clothing. In contrast, Butler’s depiction uses rich, beautiful fabrics, instantly changing the image from a comment on poverty to focusing on the sitter as an individual. In addition to this the airplane motif used on the trousers indicates travel and distance. Reds and pinks have been used within the skin to indicate the fire inside - the drive and passion of the sitter. 

One of the many things I love about Butler’s work is how she depicts the skin tones of her subjects. Despite using ‘unnatural’ colours the balance of dark and light, highlight and contrast allows the viewer to see the depth and luminosity of  the skin. When viewing the portraits our eye is able to read the wide range of colour and shapes as beautiful black skin. Butler explains her colour choice: ‘I choose bright technicolor cloth to represent our skin, because these colours are how African Americans refer to our complexions’. She also uses colour to indicate the personality/inner feelings of the subject. 

Close up of The Mighty Gents (2018)

Inspired by Butler’s work, in this section of the course I want to push myself to consider my use of colour within portraiture and create greater depth within my prints. 

References

Butler, B., n.d. Bisa Butler. [online] Instagram.com. Available at: <https://www.instagram.com/bisabutler> [Accessed 13 June 2021].

Lasane, A., 2019. African Fabrics Connect to Form Quilted Portraits of Black Figures by Bisa Butler. [online] Colossal. Available at: <https://www.thisiscolossal.com/2019/09/quilted-portraits-of-black-figures-by-bisa-butler/> [Accessed 13 June 2021].

Logan, L., 2020. Artist Bisa Butler Stitches Together the African American Experience. [online] Smithsonian Magazine. Available at: <https://www.smithsonianmag.com/arts-culture/bisa-butler-stitches-together-quilts-african-american-experience-180975397/> [Accessed 13 June 2021].

Sok Vision, 2020. Bisa Butler: Quilting for Culture. [video] Available at: <https://youtu.be/dCkNMK2QtUY> [Accessed 13 June 2021].

The Art Institute of Chicago. 2021. Bisa Butler: Portraits | The Art Institute of Chicago. [online] Available at: <https://www.artic.edu/exhibitions/9324/bisa-butler-portraits> [Accessed 13 June 2021].

The Museum of Modern Art. n.d. Dorothea Lange | MoMA. [online] Available at: <https://www.moma.org/artists/3373#works> [Accessed 13 June 2021].

Previous Portraits

I find it helpful when starting a new section to revisit work that I have previously done. This helps me to see what areas I could improve on. 

The first print is a self portrait made using a masked monoprint with a back drawn layer over the top. Although I can recognise the print as being of me, I don’t think there is a good likeness. This is something I would like to work on moving forward. 

One thing that stands out to me with all of my older prints is the thickness and colour density of the ink. Starting out I had limited space and time so opted for waterbased inks. These tend to have a chalky finish. This can be seen in particular with the reduction print of the stylised  womans face crying. Working with oil based inks now I want to work towards smooth and light application for a cleaner finish. 

The line work in both the print of my Grandad and ‘South’ is quite heavy handed, this is partially due to my inexperience at the time, the thickness of the ink and a limited range of cutting tools. Since completing these prints my carving skills have improved and I have upgraded my equipment. Moving forward with portraits in this unit I would like to work at refining my line work, using smaller blades, to create more variation in tone. 

Things to consider:

Likeness of the sitter

Ink application and density

UCL Festival of Intimacy

In February I applied for the UCL’s Out of Touch: Festival of Intimacy. The Festival wanted to explore different artists’ responses to the pandemic, socially isolating and relationships. 

https://www.ucl.ac.uk/culture/whats-on/festival-intimacy

This was the first time I had ever applied for an arts festival or a grant however a print I had created in Printmaking One ‘I need you so much closer’ acted as a springboard for my concept. 

https://ramonaocaprintmaking.tumblr.com/post/184297969271/project-10-experimental-relief-prints-during-my

My idea was; An interactive poster campaign incorporating images, audio and video. To interview a range of people asking for their anonymous lockdown messages. These could be a message to a loved one, an environment or themselves. Each message would become a poster which would include a QR code, which when scanned on a smart device would link to an audio or visual content. I envisage audio of people saying their messages, a video from someone’s window, a family photo, BSL video of the message. The concept is based on a linoprint I made in 2019 in response to living in a different part of London to my fiancé (partner of 12 years) due to being unable to afford the cost of living in the city. (We currently live with our families).

I was extremely shocked and surprised to be selected for the festival and receive a grant in ordered to complete the work. As a person who regularly questions my artist voice and ability it was a wonderful feeling to have an outside see value in my ideas. In addition to the series of posters the organiser asked me to adapt one of my images to use for the promotional material for the festival. 

Developing the posters

I began by writing a list of people to approach to interview, I was very fortunate that everyone I asked agreed! 

I conducted informal interviews with each participant, either on zoom or in person. I recorded some of the conversations or took notes of specific comments that stood out to me. For each individual I selected a phrase to develop into a poster. 

Posters and additional content (via QR code)

My poster, I need you so much closer, linked to a zine I had made during lockdown documenting my thoughts throughout one morning. 

Lee

The print for Lee is inspired by her tattoos, music taste, personal style and the sport of roller derby that we both play. I used Lee’s words and photos of her home to create a short video about he experience in lockdown. 

Naimo

Naimo’s design is a combination of her Somali heritage, the connection with her family, shown through the woven textile inspired boarder, and her Western life. The font style being a classic calligraphy style script. For the online content Naimo explained her views in BSL which I captioned and voiced over for those who don’t understand British Sign Language. 

Joyce

Joyce was the only minor I interviewed being only 13 at the time. Her poster is based on her personal style aesthetic and love of 90′s fashion and RnB. The online image is of her in her ‘home school’ environment and includes her reflection on the time spent out of school. 

Elli

The design concept for Elli’s poster was based on her love of live music and gig going culture that came to a complete standstill during the pandemic. The photographic portrait is of Elli at work, being a key worker this only place she visited outside of her flat for nearly a year.  

Online Content Hosting

Rather than link the posters to various platforms I hosted all the online content on my website. I felt that this was more professional and would also direct viewers to my website should they wish to explore my work further. As the posters were installed in various locations as a pop-up I was only credited in the festival guide, by linking to my website my name would be associated with my work. 

https://www.ramonamason.com/printmaking

Assignment 3: Chiaroscuro

Composition

As the course materials instructed I created a still life with various objects and folds of fabric. I took multiple photos of the arrangement. 

Going through the photos I selected six that I felt would make good compositions.

I selected these as:

They have a good balance of light and dark suited to a chiaroscuro composition.

The objects fill the frame but leave space where the folds of fabric can be seen.

I preferred compositions where the skull was in a 3/4 profile as it is more recognisable as a skull and softer than a full profile. 

From this selection I chose a composition I would further develop into the final print. In order to help me to visualise the potential tonal layers I converted the colour photo to a high contrast black and white and a black image and monochromatic version. 

Drawing

I began the drawing process using a grid to help me to block where the objects are in relation to each other. My first drawing focused on the outline of the objects however after trying to add tone to the drawing I realised that the outlines were hindering the shading. 

I started my drawing again, however this time only looking at the tones in front of me, ignoring the objects themselves. Using three shades of blue, the white of the paper and black I worked through the grid systamatically just marking the spaces I could see. This image was much more successful than my initial drawing. 

Developing for Print

Printing

I decided that I would use a reduction method to create the print as I was concerned that the level of detail would be difficult to match over four plates and that the registration in particular would be very challenging. I wanted to experiment with different colour variations and settled on using the primary process colours, traditional sepia tones (often seen in chiaroscuro prints), black and grey and a blue toned print. 

The process was slow and frustrating as I struggled to visualise what areas to cut and which to keep as I progressed through the layers. I find reduction prints quite stressful as knowing that I can’t repair any mistakes without starting again from scratch increases the pressure!

Final Prints

(Please note, these are photos of the prints and I will be updating the images when I have access to a large scanner next month)

Although I do like the shades of blue overall, the lightest shade unfortunately came out too light causing the composition to have a starker appearance.

Like the blue tones, there is not enough contrast in the lighter transitional tones within the grey composition. The colours work well together however and I feel the overall composition is striking. 

Despite the sepia tones not being a colour scheme I personally enjoy, this is my favourite of all the colour variations as it is the most effective. I am glad that I experimented with colours I wouldn’t usually choose. 

The final process print I intentionally offset the colours in the printing process to allow all the colours to be seen in the final print. The end result appears oddly sinister. The red and yellow resemble neon signage which paired with the subject matter creates a sense of unease. 

Project: A Chiaroscuro Print

Ideally for this project I would have preferred to visit galleries in person however that is not a possibility at the moment. Instead I decided to explore the Renaissance paintings within The National Gallery’s online archives. I narrowed the hundreds of paintings down to a few that I found particularly interesting or thought might make an interesting Chiaroscuro print. I adjusted the settings of the image in order to help me to visualise how the image might work in a more limited colour palette. 

Judith and the Infant Hercules (Master of the Mansi Magdalen, 1530)

Salome (Giampietrino, 1510)

A Portrait of a Young Man (Botticelli, 1480)

Saint Sebastian (Cima da Conegliano, 1500)

After looking at the various edited photos I chose to further explore creating a design of Salome and Judith. 

The majority of the paintings I looked at in The National Gallery archives were religious, depicting scenes from the Bible. The Virgin Mary with the baby Jesus was one of the only women featured within the paintings. This is why I found Salome and Judith and the Infant Hercules particularly interesting. 

In contrast to Mary, both Salome and Judith are both Biblical characters known for using their sexuality and decapitation. Salome performing a sultry dance for her stepfather Herod in exchange for the head of John the Baptist (at the request of her mother). Judith, a widow, ingratiates herself with the enemy Assyrian camp and their leader Holofernes. One night when he is drunk she is permitted to go into his tent where she decapitates him, taking the head back with her to Bethulia. 

Initial sketches and tonal experiments

Alternative colour palettes and texture samples

I struggled to decide between the two paintings as inspiration for the final design. Eventually I decided to further develop Judith and the Infant Hercules. What drew me to this painting is the juxtaposition between the feminine form, nude and vulnerable with the violence of decapitation. Unlike the the story of Salome, who requested the beheading of John the Baptist, Judith performed the decapitation herself.

The recent news of the murder of Sarah Everard has pushed the discussion of violence against women back to the forefront of political discussion. Although for women, this is an issue that is constant. The fear felt when walking alone at night. The fear of the unknown man. Like all women I know, I have been grabbed, followed, cat called, harassed and threatened while out on my own. There are many movements wherein women are fighting back, Reclaim the Streets, Reclaim/Take Back the Night and the Women’s March to name a few. 

Every year, 85,000 women experience rape, attempted rape or sexual assault  in England and Wales alone, according to the Crime Survey for England and Wales (CSEW).

A woman dies at the hands of a man every three days, according to the Femicide Census. 1,425 women and girls were killed in the UK between 2009 and 2018.

97% of women aged 18-24 have been sexually harassed, while 80% of women of all ages said they had experienced sexual harassment in public spaces, according to a survey from UN Women UK.

I want my print to celebrate feminine power and strength. To be a symbol of fighting back when under threat. For this reason I have excluded the figure of Hercules from the design. 

Developing the Design

Using the painting of Judith as a starting point, I tried to heighten the femininity further by given Judith longer hair and bigger hips and thighs. I struggled at this stage, continually being unhappy with the design. 

Eventually I decided to push forwards with the design despite my reservations as I wanted to complete the exercise.

Range of Prints

I feel conflicted about the final print. As is often the case the longer I spend on a print the less confident I feel about the final result. I believe the design concept is strong, the imagery powerful. However, my carving skills have prevented clarity on the facial features, with a print of this size, the smallest line can change the entire facial expression. I have bought some new finer carving tools that I am hoping will help me to improve in this area in particular as the next unit is portraits! 

References

Botticelli, S., 1480. Portrait of a Young Man. [Tempera and oil on wood].

Cima da Conegliano, G., 1500. Saint Sebastian. [Oil on wood].

Giampietrino, 1510. Salome. [Oil on poplar].

Research: Chiaroscuro Prints 

Notes on Chiaroscuro, Renaissance Woodcuts, Royal Academy of Arts

Chiaroscuro woodcuts are defined by their use of tone. The colour of the paper should function as light, creating a greater depth of image rather than a neutral background. 

‘Only when tone and line blocks are used to create graduations of colour from dark to light, and only when colour and light are employed as artistic tools for giving volumes three-dimensionally and generating pictorial depth and atmosphere, is it permissible to talk of a chiaroscuro woodcut as opposed to a colour woodcut.’ (Gnann 2014)

The woodcuts were often used to reproduce paintings and sculptures of the time allowing wider distribution as broadsheets but also used as pieces of art in their own right, as wall decoration or substitutes for paintings. One thing I found partially interesting is that although some artists cut their own woodblocks others had their artwork cut by specialist woodcutters, the woodcutter being used as a method of reproduction not an artist in their own right. 

Lovers Surprised by Death (Burgkmair the Elder, 1510) Witches Sabbath (Baldung Grien, 1510)

Details from Witches Sabbath (Baldung Grien, 1510)

Both of these prints use extremely fine lines to create depth and form. This makes for an incredibly detailed print. I would like to explore using a similar line technique within my design for my own print however I am concerned I may not have the technical skill to execute it. In Witches Sabbath, in particular, the use of light creates an eerie glow from an an unknown source. The deep contrast of the print darker than many other examples I have looked at. 

St Phillip, two colour variations (Beccafumi, 1544)

I found Beccafumi’s colour variations interesting to compare, the cooler grey blue tones give the print a sculpture like quality as if carved from marble whereas the warmer reddish tones bring to mind the glow of low sunlight. The tonal layers, in both prints, appear to be the varied shades of the same colour.

This is an exemplary example of how the chiaroscuro technique can convey deep folds and form especially when depicting fabric. 

St George and the Dragon (Cranch the Elder, 1507) Courtyard with Renaissance Architecture (Loy, 1550)

St George and the Dragon stood out from the other chiaroscuro prints that I looked at due to the unusual choice of colour. The print is comprised of two woodblocks, black line and a gold tonal block, printed on paper that has been coloured (possibly a colour wash? ). Unlike the majority of the prints that use the paper colour as the highlight area, within this print the highlight area is printed on. The overall effect of the colour choice is a night scene. 

Unlike the other chiaroscuro prints I viewed, rather than depicting figures the Courtyard with Renaissance Architecture focuses on structure. In contrast to the other prints Loy has used solid areas of tonal colour rather than finer crosshatching featured in the other prints. Within my own design I want to consider the impact that the shading style has on the overall print. 

References

Baldung Grien, H., 1510. Witches Sabbath. [Chiaroscuro woodcut printed from two blocks, the tone block in greyish beige.].

Beccafumi, D., 1544. St Phillip. [Chiaroscuro woodcut printed from three blocks the tone blocks in a grey and blue.].

Beccafumi, D., 1544. St Phillip. [Chiaroscuro woodcut printed from three blocks the tone blocks in a reddish brown.].

Burgkmair the Elder, H., 1510. Lovers Surprised by Death. [Chiaroscuro woodcut printed from three blocks, the tone blocks in blue.].

Cranch the Elder, L., 1507. St George and the Dragon. [Chiaroscuro woodcut printed from two blocks in black and gold on prepared paper.].

Gnann, A., Ekserdjian, D. and Foster, M., 2014. Chiaroscuro. London: Royal Academy of Arts.

Assignment Two: Abstract prints

I have been looking at the ongoing photographic project by Clarissa Bonet called ‘Stray Light’. Constructed from multiple photos Bonet’s images looks at the light cast within urban environments from different homes. The dark buildings fade into the night sky creating a constellation like image. In the city you rarely see the stars due to the light pollution, Stray Light, highlights the beauty within the city. 

These photos strike differently when viewed through the current pandemic. Many people have been isolated, unable to go out or meet with friends and family. Within the photographic project Individual homes are viewed simultaneously, this creates a sense of shared experience and community. We are all alone together. 

Stray Light (2014- 2018 C. Bonet)

I wanted to use Stray Light as a starting point for a series of abstract prints. breaking the print down into two key layers. The first a more expressive abstract monoprint and the second a black layer making up the buildings. The negative space allowing the monoprint to come through, like the windows in Bonet’s photographs. 

Initial designs and planning

In Abstract Expressionism: The Mystical Experience. Art, Levine describes Action Painting as conveying the personality of the artist from their mark making. ‘Action Painting can be viewed as a surrender of the self and individuality.’ (Levine, 1971).  I wanted to attempt to ‘think less’ for my first layer, focusing on going with my gut rather than trying to plan it. However for the printing to be successful I needed to plan the process and layers. 

Abstract art and Jazz

Norman Wilfred Lewis 

Arrested Fractions (Lewis, 1961), Untitled (Lewis, 1977), Cathedral (Lewis, 1950), Untitled (Urban Abstraction) (Lewis, 1949) City Night (Lewis, 1949)

Lewis was a figurative painter before becoming an abstract expressionist in the 1940s. Although a contemporary of Pollock, Klee, Rothko and Kooning, and despite his active involvement in the movement and his work being featured in exhibitions alongside many credible abstract artists, he does not appear in any of the historical narratives of the time due to being African American and a civil rights activist. Growing up during the Harlem Renaissance Lewis’s work was influenced by the city he lived in, his community and music, specifically jazz. 

The vertical stokes within his work create crowds of people, the movement of music and cityscapes. The use of bright colours overlaid with black in Cathedral and City Night resonate with what I hope to achieve in my  printing. In a audio recording for the MoMa curator Ann Temkin discusses the use of line within City Night (Lewis, 1949)

‘You have the buildings that line both sides of the street and indeed the very thin lines that you see going from the coloured vertical on the left to the colour vertical on the right have been interpreted as the laundry lines or perhaps the power lines that go from building to building in a city.’ (Temkin, 2011)

Lewis’ use of rectangular forms and bold shape is a stylistic aesthetic often associated with Jazz music. Developing alongside each other Abstract Expressionism and Jazz music became synonymous with one another. This has continued to inspire the creative world, more recently with animation. 

Drums West, Jim Henson (1961)

Monsters Inc Opening Credits, Disney Pixar (2010)

It's Just Some Crazy Jazz, Sergio Blanco (2018)

I love colour, and the contrast between high colour and black. I wanted to consider this within my mono-printing keeping the movement fun and joyful.  

Monoprint plates

I used A3 sheets of acetate as my printing plate and a range of materials. Traditional oil based ink, craft ink pads, water, string, thread and sequins. I had various brushes, rollers and tools to make additional marks on the plate also. 

The inked plate prior to printing.

Drying monoprints.

Finished first expressive print layers

I really love the expressive prints, the colours and movement within them. It made it harder to plan for the next layer as I was anxious I may ruin the prints!

First attempt at second layer

My initial idea was to continue using the acetate as a plate to create the areas of black. I cut the acetate into uneven strips, inked each piece and used various tools to remove areas to create the windows. 

One of my monoprints unfortunately had some marks in the boarder from residual ink on my self-healing mat. For this reason I decided to use it as a test print. I later used it to help register the lino layer for the other prints. 

Photo has been edited to try and recreate what it looks like in reality. Unfortunately it is too big to scan. 

I was not happy with the result of the acetate monoprinting. The saturation of the ink was poor, so that the overall print didn’t have the impact that I wanted. For this reason I decided to change printing method and create a linoprint as I knew I would be able to create a stronger image. 

The impact of the print was not what I had hoped nor what I had in my mind. I decided to do additional research into the mid-century aesthetic I had in my mind. I was influenced and inspired by mid-century, Bauhaus and California design. My subsequent research and reflections can be accessed here. 

https://ramonaprintmakingtwo.tumblr.com/post/647827952041689088/artist-inspiration-mid-century-textile-design

Subsequent designs

I wanted to ensure my designs weren’t static and had versatility. For this reason I chose to cut the lino into different strips, much like the weft of the Bauhaus textiles. 

Usually when I carve lino I have made strict plans prior to carving. Using tracing paper I will transfer the design to stained lino often going over the line work with a pen if I’m unsure of the layer I am on. Stepping away from methodical approach to carving, for this design, I just made cuts where I felt they should go. 

Final Prints

Final Selection of Three Prints

Reflection

These are the three prints that I have selected to submit for assignment two. A key element that links the prints is the visibility of the string imprint within the monoprinted layer. When mixing the ink for the black lino layer I cut it with extender in order to reduce the opacity of the ink, this allowed the negative of the string to be seen throughout the print. I wanted to create an abstract print based on Bonet’s photo series, depicting the glow of windows in the night sky, but also to represent the sense of connection and community. The string becomes symbolic of the ties between individuals creating something larger. 

I am pleased with the prints overall from a technical standpoint however there are some parts that I need to improve upon. I’m still getting used to my new press and learning about the correct pressure. Unfortunately I didn’t notice as I was working but there are embossed marks on the outside edges of the top and bottom corners where I had additional lino (in order to prevent ‘jumping’). There are also tiny marks on a couple of the prints which I find incredibly frustrating. I have been trying to improve my practice to ensure my workspace remains clean, my hands remain clean, no enough apparently! I could use disposable gloves in order to keep everything clean however this is something I would like to avoid as it is wasteful. 

 References

Blanco, S., 2018. It's Just Some Crazy Jazz. [video] Available at: <https://youtu.be/tcUgV0PkveA> [Accessed 3 April 2021].

Bonet, C., 2014. Stray Light. [Series of photographs].

Disney Pixar, 2010. Monsters Inc Opening Credits. [video] Available at: <https://youtu.be/nOCc8D2rbkQ> [Accessed 3 April 2021].

Henson, J., 1961. Drums West. [video] Available at: <https://youtu.be/9RysUNvQZTE> [Accessed 3 April 2021].

Levine, E., 1971. Abstract Expressionism: The Mystical Experience. Art Journal, 31(1), p.22.

Lewis, N., 1949. City Night. [Oil on wood].

Lewis, N., 1949. Untitled (Urban Abstraction). [Brush, ink and wash on cream wove paper].

Lewis, N., 1950. Cathedral. [Oil on canvas].

Lewis, N., 1961. Arrested Fractions. [Oil on canvas].

Lewis, N., 1977. Untitled. [Oil on canvas].

Mir, S., 2016. Filling Out the Story: On the Art of Norman Lewis. [online] Hyperallergic. Available at: <https://hyperallergic.com/281487/filling-out-the-story-on-the-art-of-norman-lewis/> [Accessed 3 April 2021].