Assignment 5- imagination

This assignment called for one large collaged mono type on an imaginative theme or a narrative sequence of 3 -5 prints, from own choice print medium.

Inspired by the contextual studies into multi media and narrative prints, I decided that I wanted to produce a narrative sequence. I was considering using a story or nursery rhyme as the starting point when the idea for the print came from a real incident.   A very large spider ran down the bed when I was quietly sitting reading.  This reminded me of the Miss Muffet nursery rhyme and this in turn, of the Nursery Rhyme series of etchings by Paula Rego, which includes a Miss Muffet piece http://collection.britishcouncil.org/collection/artist/5/18742/object/40023/

Using the traditional nursery rhyme as the inspiration, I sketched a figure sitting quietly reading under a tree with the spider hanging high above.  Then a series of thumbnails

 I feel the first and second pieces work as stand alone pieces as well as part of the triptych. However the third piece showing the figure running into the space doesn't work alone.  It  is a boring very plain image without a story.

I then drew a figure on a bed with the spider close to the leg 
but felt the figure jumping off the bed didn't work -and also my drawing wasn't up to portraying the figure well enough and I was unable to transition for a print from 2 into 3 so went back to the idea of a figure sitting under the tree. I tried the "what if...."game to try to resolve the issue of the third piece working as a stand alone.

The alternative storyline involves the figure remaining sitting - in the second print she is reacting to the spider and her hand is raised - to fend off? in alarm? - who knows. In the final print the spider is sitting in her hand on top of the book and she is looking intently at the spider.

The next set of thumbnails considered backgrounds, including trees and hills but I felt the detail on the background diffused the image of the figure and the spider.  I then looked at different positions for the figure - facing left and also facing centre under a much larger tree.

 This minimised the figure making the tree the most important element and this also detracts from the image. I felt the figure facing centre made the image feel to symmetrical and when the figure faces left, it seems to be counter indicative to how we in the west "read" images - the image of the figure facing right and with just the side and branch of the tree showing gives the right emphasis to the figure and the spider and the right balance.

I was still trying to resolve the printing method - my preference would be for an etching as a homage to Paula Rego but I do not have the time for the necessary visits to the Print Centre so was considering collograph/lino cut when I came across the method of silk aquatint in the blog of Sue Brown http://suebrownprintmaker.blogspot.co.uk/2013/12/end-of-term.html  The method gives the deep and varied tones of aquatint but is a collograph method.  I researched the method and realised that prints I had admired and thought of as etchings by Sean Harris http://www.arts-engine.org.uk/index.php?id=44&action=viewOrganisationData&returnID=28&letter=H&OrgID=715001were in fact, silk aquatints.  I therefore resolved to try the method for the assignment. Although this risks prints that are not up to the quality required I feel that it does fulfil the brief to try "experimental and exciting techniques".

I made a trial prints to experiment with the technique. On the plate, I used wood glue to draw the image, but although this is white when wet, it dries clear which caused a problem when inking as I couldn't see the image against the dark acrylic background.  I then made two more plates and drew simple images in white acrylic - building up the thickness in places over a couple of days as the layers dried and also scratching back to create lost details in places. I also amended the original trial plate of the figure with white acrylic to create more tone and texture

After experimenting with the plates, printing them and subsequently building up texture with white acrylic, gloss medium and wood glue - I am still not satisfied with the level and evenness of tone and realise I need more practise with this technique and also some expert advice and am not ready to use the technique for this project.

I re drew the sketch looking at the potential for mark making in lino cut or wood cut.  I was inspired by the lino cuts of Ian Phillips http://www.reliefprint.co.uk/and the wood engravings of Colin See-Paynton http://www.see-paynton.co.uk/index.html and used some off cuts of lino to develop the marks on paper into lino cuts.

I cut the plates utilising some of the mark making from the trial plates. After several proofs I decided to use stencils to reduce the marks from the cleared areas and proceeded to print a small edition of 3 prints of each plate. I decided to use a dark grey ink as I felt black was too harsh and experimented with various combinations, finally deciding on a mix that included a touch of blue.

I started out by hand burnishing on newsprint but reverted to the press for the prints on Fabriano Rospina when I found that I cannot form enough pressure using hand burnishing on the thicker paper

 I am reasonably pleased with the prints. Some marks have come through on the arm and the trousers but I feel these do relieve the large blank space. 

I experimented with hand colouring on one of the proofs.  I prefer the original monochrome images as I do not consider colour ads anything to the image.

Reflections

• The softer grey of the prints was more effective than the harsh black of the scaled drawing.
• The stencils to protect the unprinted areas would have been more effective if cut more accurately and from thicker paper
• With lino cuts I aim to clear all the extraneous marks but looking at the prints, I feel that the marks left he arms and trousers enhance the image.
• I am pleased with the design but like the effect of the enclosed wood in the experimental print where the tree plate was printed upside down. This provides an opportunity for future development and ties in with my wish for my work to have more layers of interest



• I don't feel that I fulfilled the brief for explorative or experimental print-making. However, I have tried new methods - silk aquatint and hand colouring - and have explored a wider range of mark making for these lino cuts 
• I intend to further experiment with silk aquatint and hand colouring
• I enjoyed the process of developing a suite of prints to tell a story.  From my research into narrative art works I realise that my work is only two dimensional and would benefit from more time spent developing ideas so that the final works are more complex and offer the viewer more interest.