Assignment 5 – A Final Piece – Stage 3 Sample-making

I was excited to begin hand stitch samples to print with and was soon enthused with the results of some rubbings taken to explore the potential of the stitched marks.

Starting with chain stitch, which was deliberately loose and unconventional for a more expressive outcome, I was encouraged by the potential from a few small lines of quite uninspiring stitch.

In this first rubbing on some 160gsm cartridge paper, the seed pod-like rubbings of large

 

loose chain stitch in the bottom left were particularly appealing, but once a variety of papers were tested , there was no holding back.  I found that fine papers give beautifully, delicate, detailed rubbings. Printed 9g lens tissue, tea bag paper and chappra tissue melt into the page when adhered with acrylic wax or soft matte gel.

Soft gloss gel works well too, but the matt finish is more appealing in this context, somehow enhancing the delicacy of the stitch and thread and residue of graphite.  HB graphite sticks gave a crisper, cleaner rubbing than the softer 2B stick, but a combination of hardness & softness increased the variety of marks. Rubbing, non-dominant hand drawing, stitching onto tracing paper and layering the results also has potential,

as does rubbing, adding stitch and a watersoluble ink wash. The loosely stitched black linen acted as a mask to the wash, creating faint white stitch marks, both the stitch and white outline contrast with the different values of graphite.  There is also an appeal in the simplicity of sticking to the one stitch, echoing the line and the limited palette.

Different scraps of paper and fabric were stitched with a variety of threads and as mentioned earlier I got quite carried away in the excitement and produced lots of small samples which were then collaged with Golden soft gel (gloss).

The results were inspiring, but I could see that some areas worked better than others and cut some windows in my sketchbook to frame the more successful combinations.

The stitch samples were small and included french knots, straight, herringbone and cross stitch on paper, fabric and nylon netting and were rubbed from all directions on a variety of papers, repeating and overlaying the impressions using graphite, white oil and soft pastel.  The greys, brown’s and blacks with a touch of blue and spot of orange were pleasing and the marks expressive, making me feel quite emotional.  The detail achieved with rubbing was intoxicating,. The rubbing, and hopefully the printing, reveals the back of the stitch as well as the top which adds to the expression.  Using double thread on the french knots produced lovely marks, bottom right above.  The backstitch created more graphic diamond like shapes contrasting with the soft rounded chain stitch and the looser crooked crosses.  The clean line of the waxed linen thread differs from the visual texture of the hairier linen.  The text of the old book pages has similarities with the nylon mesh which together with the speckled tissue create some harmony.

Returning to the original plan of printing from the stitch samples, rather than rubbing, various papers and techniques were explored:

Combining positive and negative, first and ghost prints, tearing or cutting the edges all added to the interest with numerous possibilities and outcomes from each stitch sample.

 

I thought about the marks of Cy Twombly, creating a monoprint

then couched some hemp thread onto calico, which acted as a mask on the inked original, with graphic results.  The texture of the calico and multi stranded thread creating a lovely detailed print below.

Continuing to explore similar marks, inspired by a piece Emily Barletta’s work

the following was stitched with different threads onto heavy stabliliser with quite an appealing serendipitous or perhaps, subconscious, palette choice.

The print results were delicate but not as successful as hoped.  Part of the appeal of Emily Barletta’s piece were the holes created by the needle piercing the paper and the shapes created by stitching the negative space.  Although evident in the above sample the ‘holes’ and Cy Twombly-esque marks were lost in the print.  The stabiliser absorbed ink and printed an interesting texture but this detracted a little from the delicacy of the printed stitched marks.

Lari Washburn inspired the french knot samples and a machined version later.

French knots on silk produced a lovely watery background, middle below, and a clear print from calico on the left:

Feeling buoyed by my exploration, I need to focus, where can I take this?  Whilst the prints are interesting, they don’t stand alone in the context of a final piece and it was printing onto fine papers, combining print techniques and mark, perhaps layering or offsetting that fuelled the excitement.

Assignment 5 – A final piece – Research

Ann Symes

In my search for prints from stitch, I came across Ann Symes’ Knitting Patterns, which are beautiful, delicate prints in limited palettes and resemble some of my initial trials with stitch, which I will relish developing further and recording later in this assignment.

In addition to the ‘knitting patterns’ I found her collagraphs, prints and graphite drawings captivating, a lovely combination of values, loose marks creating visual and actual texture.

The more I looked at her work, the more I admired, such delicate marks and a wide range of values to aspire to.  There are similarities (although slight) between her tea bowl collection and my vases, which I could develop to increase the values and layers inspired by her work.

In the context of developing my printing skills, her work is inspirational, but I also found much of her other work fascinating.

Ann Symes’ background is in graphic design which she says can still influence work but she is also inspired by her surroundings.

The oak and beech woodland that surrounds my home offers an endless source of inspiration through its textures, patterns, sounds, scents, shifting light and shadow, the opening and closing sequences of the seasons, the elements, decay and renewal, small details.  Rather than using specific subject matter I prefer the environment to be a subconscious influence.

Ann Symes 2014

I was also interested to read that, as we have been practicing throughout this course, her

“work evolves as a result of experimenting with different materials and techniques which leads to unexpected discoveries and a resonance”.

I assume her ‘resonance’ is the feeling of excitement when things come together as she states that

“when that stage is reached I can explore and develop it further”.

Leslie Avon Miller paints, draws, collages and makes artists’ books.  I am attracted to the looseness of the marks, the use of negative space, the simple palette, the repetition of marks and her book-making.  She says on her blog, that her work is “a means to honour the world around her”.  She uses collage to record her experiences and also states that

The compulsion for creating collage comes from experiencing life as beautifully wild, poignant, and fleeting. The process of creating collage clears space and light for experiencing the moments.

Sophie Munns is an australian painter who studied Fine Art and has since undertaken a number of artists’ residences at botanical gardens and research in ethnobotany and biocultural diversity. Her research informs her work in which she often abstracts the line and shape of seeds and creates strong repetitive patterns selecting three or four colours for the design.

Once I started to explore hand stitch for print, I was enthused by the patterns and textures achieved with rubbing, so investigated frottage and was particularly impressed by the work of Max Ernst, especially some of the marks which appeared similar to stitch.

Having created lots of rubbing samples and finding myself collaging them together,

I sought an artist who collaged similarly printed and weights of paper and was delighted to find Eva Isaksen’s printed and layered papers, with likeness in mark and the colour palette, I was beginning to explore.

Eva’s work is also inspired by her surroundings:

My work has always been inspired by nature: organic forms, cycles, seasons, land, water, sky, order, rhythm, repetition, growth, life, regeneration. The thin papers, which I print on, draw on, cut up, mix, are layered endlessly on the canvas. My work is about color, line, material, form, and space and about art as a process that always changes and grows.

I have such a fascination with the thin papers I have printed on using different techniques, together with the rubbings, that I am keen to find a way to use and layer them and will draw inspiration from all the artists I have researched in this section.

In my initial experimentation I was also excited by the ‘hole’ remaining having inked a small stitched sample for printing:

and was reminded of an instructional video on youtube uploaded by artist, Gerda Lipski, where she demonstrated monoprinting with a gelatine plate using a mask to create a similar ‘hole’ and produces beautifully textural prints with some subtle colour mixing.

https://about.me/sophie_munns

http://www.annsymes-artist.co.uk (accessed 4.11.16 & 9.11.16)

http://www.evaisaksen.com/

http://suminagashi.com/overview/ (accessed 9.11.16)

http://texturesshapescolor.blogspot.co.uk/

http://texturesshapescolor.blogspot.co.uk/p/artist-books.html

http://texturesshapescolor.blogspot.co.uk/p/collage.html

http://texturesshapescolor.blogspot.co.uk/p/paintings.html

Assignment 5 – A final piece – Coursework Review

As instructed, the course work was carefully reviewed to identify ideas or techniques found particularly stimulating

Assignment 1 – Folding & Crumpling

Wax resist & black acrylic

Why?  The visual texture created by black acrylic settling into the gaps in the wax crayon marks.   The loose, quick marks are energetic, complementary colours of orange and blue, with the addition of yellow are bold and the traces of white from original paper colour add to the visual texture.

Charcoal and graphite on textured paper

Why? The achromatic colour scheme, visual texture and slight metallic sheen of the graphite.  The softness and fluidity of charcoal and graphite to draw with.

Drawing by scraping into wet acrylic paint

Why? The smooth, soft path of the tool drawing into the wet paint is freeing and expressive.

Looking into the centre of linear crumpled tissue

Why? Actual and visual texture and the shadows in the centre draw the eye in.

Cutting holes and adding a light source, static or moving to create shadows

Why?  The soft patterns differing in value, created in light and shadow and the ability to manipulate them by moving the light source.

Assignment 2 – Joining & Wrapping

Natural wrapped pieces in the style of Tim Johnson

Why? The simple palette, the natural texture and matt finish, curves and line of the collected matter, the tactility of the various tying materials, linen, silk noil, cotton, jute thread, dry grasses and plant stuff.  The peaceful feeling working with natural materials causes.

Wrapped Jugs

Why? The contrasting texture of the wrapping material and the shiny ceramic of the jug together with the shapes created by the placement and line of the thread.

Assignment 2 – Joining & Wrapping

Pot coiling

Why? Tactile texture, quirky, characterful shapes, rhythmic, slow stitch making, palette of burgundy, rust and white, re-use of materials.  Once I had grasped the method in each case, these pots were a delight to make and hold, small, tactile, the stitch and materials an enjoyable experience.

Needle felting open weave fabrics

Why? Texture, the tiny burgundy loops in the above sample, the soft melding of fabrics achievable with needle felting.

Loose handstitch in joining

Why? Characterful, textural, pleasure to stitch, lovely contrast of black linen thread against wool.

Beeswax

Why? Produces beautiful translucent quality of fine paper, enhances marks.  Waxed linen scrim, emphasises texture, captures frayed edges, gives 3d potential to fabrics.

Using soluble fabric/film to enable free-machining of dried hydrangea petals

Why? Pleasure of working with natural materials, fragility of dried petals, beautiful veins especially when photographed against the light.

Assignment 3 – Molding & Casting

Creating texture with molding paste, colouring with sprayed ink and Sennelier oil pastels

Why? Fine texture captured with paste, lustrous colour. Sennelier oil pastels, deliciously soft and creamy glide over the surface and blend with fingertips.  Speckled ink adding to visual texture.

Casting paper pulp

Why?  home-made paper, warm, tactile to the touch.  Captured subtle undulating curves of cotton scrim fibres and folds well, slight lustre from graphite.

Casting from Paperclay

Why? So versatile, clay easy to use and warm and light to the touch when green (unfired) but potential maximised with firing, only possible with kiln.  Using paper clay slip, beautifully delicate, fragile casting and even monoprinting possible.

Alginate & plaster of paris

Why? Amazed by quality of texture captured.  Alginate easy to use with quick results.  The pleasure was from achieving such pleasing results from unfamiliar materials, rather than using the materials.

 

Casting in plaster from stitched bags and soluble film

 

Why?  I’m finding it difficult to interpret my feelings, they are complex and need unravelling.  It was very satisfying to control the casting material with interesting results, offering potential for further development, but I was more excited by the stitching element and soluble fabrics than the casting materials. The pleasure was the satisfaction of using stitch and being innovative, the samples laid out to entice me into further development are less exciting.  Is this something I need to try again to determine how I feel?

My inclination is that the methods adopted have the potential to produce exciting work, but can I engage myself in the process?

The artex plaster and linen scrim produced great texture, the gathered stitch in the linen scrim bag added interest.  Using the bag with the seams on the outside produced a neater sample.

The orange net sewn to the soluble film created a fabulous texture as the film dissolved, leaving the white machine stitch on the surface and ‘gathers’ in the plaster.

The cast from the stitched plastic envelope was so cushion like, it was immensely satisfying.  An added bonus was the delicate scalloped edge to the ‘stitched’ holes.

Assignment 4 – Mono and collatype printing

Mark making into the ink on the print plate

Why? Loosely drawn marks are so appealing, soft or sharp, fine or chunky, energetic or relaxing, such a fluid way of working by scraping into the wet ink and printed by hand or enriched by the use of a press.

Back drawing

Why? The quality of the line is gorgeous, fuzzy, textural, characterful.

Printing with finish dishwasher liquid as a discharge agent onto corduroy

DIFFICULTY – product appears to have been discontinued – experiment with Finish Liquid gel to see if similar results can be obtained.

Why do I like this?  The marks are delicately textured and ghostly, enhanced by the addition of tiny stitches in a soft palette.

Monoprinting with masks (1)

Why?  The use of the blue and orange complementary colour is effective, the gradation of the darker orange to to a lighter shade as it travels up the page, the texture of the orange created with the roller.  The speckles created with brush thinners, the slightly offset printing of the vase creating the white outline.  The central positioning and cropping of the image.

Monoprinting with masks (2)

Why? The palette, the subtle nature of the marks on the tissue paper print on the right and the speckles created by white spirit allowing the background colour through the black on the left.

Collatype printing 

Why? Fabulous detail achieved with good quality ink, paper and press, vibrant, deep colours, some embossing, 3d effect.

Layers and blocks of colour – mono and collatype hand print, roller counterprinting

Why? Energetic mark making, lots of visual texture, effective layering, complementary orange and blue with addition of yellow, striking use of colour.  White negative space of paper offsetting print well, giving an airy, ‘less is more’ impression.

Printing from stitched materials

Why? huge potential for mark making with hand and machine stitch on numerous materials.  Loose, energetic marks, variety of values, the thread from the back of the hand stitch adds to the character of the marks.   Bottom left blue/black grey moody atmospheric palette.  Added dimension when printed onto different cloth, bottom left loose weave cotton.

Stitch & print with thermogauze

Why? Leaving a little of the Thermogauze stabilizer behind creates additional loose weave texture.  Simple palette, green, black & white, striking effect.

Summary

Careful, detached reflection has identified some common preferences and stimulating techniques.

• working with a limited palette – subtle or complementary
• loose expressive mark making
• delicate lightweight papers, detailed visual texture
• working with natural materials is peaceful
• print – both mono & collatype, by hand or press with inexpensive or high quality ink
• stitch – for print, to enhance print, pot coiling

However, the detailed review has also identified many different techniques which could easily distract, so it is important to be discerning.  What is really interesting and how could it be developed to demonstrate good technical and visual skills, creativity, taking risks with imaginative and successful outcomes?

1. Cast, stitched bags & soluble materials could be exciting, exploring how different approaches to stitched solubles will react with different casting materials.

2. Printing with stitch – ideas are flooding into my mind, printing onto fine papers, colour washing the paper first, waxing it after.  Layering papers.  Printing from hand stitch, couching, machine stitch, natural threads vs synthetics, stitch on paper, card, silk, netting.  I feel driven and excited and can’t stop stitching little samples and printing them, taking rubbings, collaging …..

I have felt torn here, I can see potential in the outcome of casting from stitched bags, but the inclination to explore is slight, I would have to make myself whereas I can’t stop myself printing and stitching.   So, I am going with my gut reaction to develop printing with stitch, endeavouring to be imaginative and take risks.

 

 

 

 

Assignment 4 – Mono & Collatype Printing – Formative Feedback – Reflection

As previously, I enjoyed and found my formative feedback via video useful as I approach assignment 5.   We discussed the work submitted for assignment 4 in general, with Rebecca pointing out the stronger and weaker areas and providing lots of positive comments.

I was reassured that I am doing enough drawing for the course, that it is improving and was encouraged to keep up the practice, perhaps join a life class and ignore any negative voices in my head.

My next step is to expand the critical thinking and reflection of my own work using the same process that I apply to researching other artists.  When reviewing parts 1-4 to determine what to develop during part 5, I will endeavour to be analytical, step back and look at everything dispassionately to decide the best ideas to take forward.

Rebecca also suggested I make a plan, be strict and work to a deadline.

Assignment 4 – Mono and Collatype Printing – Formative Feedback

Formative feedback via video 5/10/16

Key points

This is a well-organised assignment with a large range of well-executed prints. There is detailed investigation of methods, techniques, placement and colour palettes leading to the production of some considered and pleasing outcomes. I suggest your next step is to review the whole course before making any decisions about assignment five. Write this up in your learning log, being explicit about your decision-making and how you plan to develop the work in the next part of the course.

Summary of tutorial discussion

In this assignment you have investigated a wide range of other art works and used what you have learnt well in your own creativity. The analysis of the research material is of a high standard as you pick apart the work you look at.

Your drawing skills continue to develop, well done for keeping on top of this and continuing to practice. I suggest you push your self to draw regularly perhaps joining a life drawing class and try to ignore your negative thoughts.

I suggest the area that needs most development is your critical and reflective thinking skills – this is where you are studying your own results and make judgments. Try to look at your own work in the same way as you study the work of others. In your reflective writing evidence how you demonstrate visual awareness, design and compositional skills for example. Explain in your learning log how you used discernment to make your choices and develop the work. It is evident you are doing this in practice the next step is to include it in your writing.

 

Tutor name	Rebecca Fairley
Date	5th October 2016
Next assignment due	5th December 2016

Drawing in the Gardens – Pattern and place – Short Course at West Dean College

Over the August Bank holiday I took a short course at West Dean College with Rosie MacCurrach.  It was a fabulous experience, West Dean College is a peaceful creative haven in the midst of glorious sussex countryside.

Rosie MacCurrach is a lovely person, quietly spoken, encouraging, positive and talented.  It was an intermediate course so I felt a little out of my depth but forced myself to raise my game.

We started with mark-making using ink and found objects from the garden.

We discussed the work of Samuel Palmer, Ravillious, Van Gogh and others, supported with beautifully illustrated books.

Out in the garden we drew with charcoal.  My first 20 minute sketch:

We discussed composition, looking first at other artists, then making quick diagrams of areas in the gardens.

An hour or two’s drawing in the rain, with Rosie passing by every now and again to encourage me to be bolder:

It was an excellent course for me, all stages of everyone’s work was displayed and discussed constructively.  Eventually I forced myself to be less tentative and the weekend helped me to see that I need lots of practice in situations like this in the company of others, with the friendly support of a tutor  and no distractions to take me away from the act of ‘live’ drawing.

The Padstow Mussel Co. – Gyotaku by Susie Ray

Some of my OCA peers brought this artist to my attention.  A tutorial was also repeated on BBC2’s Countryfile on 18th September, 2016.  I love the mottled quality of the prints, the added texture of the cloth used for printing and the blue black ink.  I believe the prints on cloth are then scanned and printed on paper.  Delightful.

http://www.thepadstowmusselco.com/fish-rubbing-prints.html (accessed 19/9/16)

Cornish Fish Rubbing Pictures – Gyotaku

Cornish Fish Rubbing Pictures – Gyotaku by Susie Ray. A stunning range of beautiful prints from the original artwork. Gyotaku is a 18th/19th century technique used by Japanese Fishermen to visually record new species of fish they would catch.

The original method was to use edible ink and rice paper, Susie looking to create a more precise finish uses oil paints and cotton cloth, on locally caught Cornish fish from Padstow to Newlyn. The texture of the cloth gives each image a wonderful depth and really makes the ‘Fish’ stand out.

http://thepadstowmusselco.com/blog/tutorial-on-how-to-do-a-rubbing/  (accessed 19/9/16)

Monoprinting with Paper Clay Slip

For my OCA Textile followers, on a workshop at West Dean College, blogged here  MMT Part 3 Molding & Casting – Paper Clay, I had the opportunity to monoprint with paper clay slip, details of which I’ve added to this post if you’d like to take a look  MMT4 – Monoprinting – Exercise 1 Mark-making.

 

MMT 4 – Stage 4 – Reflection

Building on my printing  skills has been a stimulating experience resulting in a better understanding of materials and improved quality of outcome.

I have explored a variety of items for printing and made great advances in the use of oil based inks, printing presses, the application, mixing and burnishing of inks.

Demonstration of technical and visual skills

Lots of samples and careful observation has resulted in good technical skills in mono and collatype printing with oil based inks and a printing press.  An understanding of the effects of different papers used both damp and dry has also been gained.   A variety of materials have been used effectively throughout the exercises.  Visual awareness, design and compositional skills have been demonstrated.

Quality of outcome

This has been a thorough exploration into mono and collatype printing, backed with research of artists and their work, craft books, online videos and attendance at practical workshops and a local print studio. Throughout the learning process, adjustments to technique have been made to build on the knowledge gained.  I have been discerning in my choices, presentation of work, conceptualisation of thoughts and communication of ideas.

Demonstration of Creativity

There is evidence of experimentation and risk taking and some development of personal voice.

Context

Coursework has been based on a variety of research and developed with considered self-reflection and critical thinking.

 

Printing encourages me to be more playful and inventive and improved skills and knowledge will definitely inform my practice and form part of my sketchbook development.

The most exciting area for further progression is the use of stitch combined with other materials to add to collatype plates.

 

Referring back to my formative feedback for Assignment 3 and relating it to this assignment

Assignment:

Demonstration of Technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

I think I have continued to be adventurous and pushed myself.

Drawing:

Demonstration of Technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

I am disappointed not to have drawn more outside the minimum required for the printing exercises.

Acutely aware that drawing is a vital component of this course and my progress as an artist, not just to deepen understanding of my work and that of others, but to develop visual skills and original work, I feel I have reached a point where my mental block around drawing will hamper my progress if I don’t find a way to make it a habit.  In a workshop/classroom situation I can force myself, albeit tentatively, but alone as a distance learner, the motivation to draw eludes me.

Research:

Context, reflective thinking, critical thinking, analysis

As much of the research this time was into the process of printing, I think my analytical skills into the work of others are probably on a level with the last assignment but that the extended research into areas I choose to develop in part 5 will enable me to develop them further.

Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis

I have attempted to add reflection about my prints and made links to my own work and research material.

I would like my feedback for this assignment by video please.

AIMS for Part 5

To find a local group or class to draw with to develop my confidence and skills.

To be adventurous and thorough in developing ideas to reach an informed and creative final piece.

 

 

 

 

MMT 4 – Stage 4 – Sorting

During the exercises, I thoroughly explored the processes and gained valuable experience with printing inks, papers and using two different presses.  These techniques will all help with developing ideas in future.

Printing on tissue or fine hand made paper, with the following colour palette, gives a lovely aged feel to the prints and the qualities produced by spraying the inked plate with a solvent such as white spirit or brush thinners are very appealing and be useful to know.

 

 

Mark-making onto an acrylic, acetate or gelli plate to create a print combined with back drawing is useful technique which I would expect to use again. The loose, slightly quirky nature is very appealing.

The combination of lightweight paper, solvent splashes on the ink and the intricate detail of the grass highlights the potential for using printing as a means to develop ideas with plant materials. I love the gossamer like effect of printing fine detail with dilute inks on tissue.

 

The round print blocks were very effective and I’m keen to develop this form.  With a love of visual and actual texture, collagraph has great potential for me, from acrylic media, embedded plant material, stitch, fabric and found items.  The 3d effect, mixed colours, embossed and visual texture are visually exciting.

 

The simple glued circles sprinkled with carborundum are very effective in similar tones, with uneven character and a lovely deep, matt blue contrasting with the gently burnished background.

The quality and velvety finish to the paint is somehow rich and tactile in the following ribbon and lace print, I think its the cloudy, mottled look of the paint that is attractive to me rather than the plate, although the clarity and contrast of texture in a linear arrangement is effective.

The emphasis of the three-dimensional nature of the print is enhanced by the use of primary colour rubs in the following polyfilla plate. I am keen to continue building skills in the application and mixing of inks on the collagraph blocks.

I am very excited at the potential for using stitch with various materials to produce original designs for print from my own drawings as experienced below with thermogauze stabiliser and free machine stitch.

Continuing on the theme of developing ideas with stitch, the print from stitched acetate suggests great potential with firm grounds that can be punctured

and more flexible grounds that can be stitched or collaged as with the Tyvek below.  This too is inspiration to work on subtle colour rubs.

The following is a favourite for the range of value and a reminder to explore different methods to achieve this.