divergentpracticedevelopment

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Printing with new plate to explore distortion.

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Attempting to flatten paper.

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Large board cut and carved, awaiting printing…

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My wall has been ever-evolving during the module and has culminated in this mix of prints and offcuts. I have been experimenting with using varying papers and have found it very effective working on thinner tracing paper, then layering it over my other prints creating depth. These were printed using bright neon colours which add a pop of colour to my wall creating a more hectic look. My experimentation has been really fun to do and I have found some great techniques that work. I particularly enjoyed printing over my older prints to create two layers.

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Wood I intend to carve and cut for further printing.

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I’ve also enjoyed using off cuts of the prints and the marks left on registration sheets to create a wall full of prints almost as if it were an installation. I think I would want to start with a larger print and grow these out from that print.

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Drawing board print result. Really happy with this print and how much textural details have been picked up, with little pieces of masking tape etc lifting off more ink. Next steps will be to experiment with borders instead of a bleed print, and using nicer paper to create finalised print.

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The emboss process has some great results but I’m not sure into elevate this further. Could I screen print onto it?

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Experimentation with using different colour ink or working black on black. Really enjoying using neon colours in these prints adding a bright new element to the print.

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I have also been experimenting with cutting out my prints and rearranging them while adding neon colours to contrast with the black and white.

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Experimenting with collagraph printing technique. Not the biggest fan of this process as it takes a little bit too much time and in my opinion the results aren’t what I am looking for with my work, with the ghost like appearance of the prints.

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Ciara Phillips

Ciara Philips is a Canadian-Irish artist based in Glasgow whose large scale prints almost act as installation pieces. Her experimental approach to printmaking has an openness that allows for creativity to flow. Phillips’ work is designed to prompt discussion on current issues, recognising the link between printmaking and social activism/propaganda.

Her work has been important for me as it has allowed the generating of ideas in regard to the final install of my work. I plan on exhibiting my plates alongside my prints as an installation piece rather than purely using the prints as my final work. I want to explore the agency of involving these plates.

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Lin Onus

While Aboriginal artist Lin Onus (1948-1996) worked with sculpture and paint, I am more interested in his series of relief prints which are broken up into smaller segments. These prints are derived from a larger image, yet they are broken apart into several segments. The Dislocation series of prints explores Onus’ own roots and his background, having an Aboriginal father and Scottish mother. Much of his work explores these themes and blends aboriginal and western cultures and practices.

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Experimenting with some prints and wood blocks which I plan on displaying alongside each other. I want to create an equal playing board for the prints and blocks with out either one taking priority over the other. I really like how the plates look on the floor and would love to see them sit in that space for the degree show.

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Drawing up compositions that will be cut out on varying wood. Excited to work in this way with each piece acting like a jigsaw. The opportunities are endless as I could arrange these on varying ways and alter spacing and canvas size etc.

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Printing and emboss using woodblock.

For the printing, I decided to use a blue ink to contrast with the monochrome paints but I don’t like the result. I want to use a more neon colour like a hot pink to create a larger contrast. The quality of the print isn’t good either as the paint that was on my MDF started to peel off, ruining the quality of the print. However, I plan on reworking my wood, potentially taking off the top layer to allow for a smoother layer again as well as etching some more details in some places.

I really liked the emboss and feel like it would be an interesting process to explore, however I’m not sure how I would utilise the process for my practice.

I cut one of my prints up to create individual segments that can then be built up into larger ones. My next step is to increase scale and make larger prints that utilise this segmentation to create different compositions.

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Decided to trim some of my lino into shapes that follow the path of the cuts I have made. This will open up opportunities to experiment with the shape of my prints as well as compositions.

The end results are interesting, especially with the prints that resemble a motif or repeat pattern. They have a completely different quality to the basic prints, having more design like feel to them. I feel like these should be made in multiples, which would go well with the theme of repeat patterns should I explore it.