The assessment criteria for the Printmaking 1 are:
- Demonstration of Technical and Visual Skills – materials, techniques, observational skills, visual awareness and compositional skills
- Quality of Outcome – content, application of knowledge, presentation of work in a coherent manner, conceptualisation of thoughts, communication of ideas
- Demonstration of Creativity – imagination, experimentation, invention, development of a personal voice
- Context – reflection, research, critical thinking (learning log)
1. Demonstration of Technical and Visual Skills
- different papers
- different inks
- making my own ink
- cutting lino with linocutters, knife and dremel
- cutting plywood
- registration in a mount card jig
- registration with a masking tape jig
- registration with metal blocks
- hand pulling print using a baran and a spoon
- printing on an Albion press
- printing on an etching press with runners
- using photo software filters
- experimenting with opacity, transparency and viscosity (but so much more to do)
Observational Skills and Visual Awareness
- drawing still life and translating it into linocut
- combining photographic and drawn from life references
- exploring opportunities to use negative space in prints
- looking at pattern
- developing representational image into abstract design
- experimenting with different colours and tones
- experimenting with removing the print edge
- thinking about negative space and print edge
2. Quality of Outcome.
Although quietly pleased about some of the prints I have achieved, others have disappointed me, in particular my three plate print ‘Pas De Deux’.
I have tried to produce linocuts with strong designs and quality cutting. I had done very little linoprint work before this course (about 6 pieces in a lifetime) so was doubtful about my ability to conceive a suitable design, transfer it to lino and cut it. I have developed my cutting skills more that I expected and I have tried to show ambition and variety in the design and complexity of my prints.
I am finding colour selection and mixing difficult with printing inks and know that this is an area of weakness, although I can see some improvement through this part of the course.
Application of knowledge:
Presentation of work in a coherent manner:
I hope that I have made significant improvements here. I am still working on improving the narrative of my sketchbook, and am struggling with what goes in my learning log or my sketchbook. Having progressed some way into this part of the course before receiving my report, I hope the next Part will show consistent improvement.
Conceptualisation of thoughts, communication of ideas:
I have tried to respond to tutor feedback and trust that my sketchbook now better demonstrates the path from initial idea to a design ready to go onto lino, in sequential order. I hope that my sketchbook is clearer now.
Trying to make my sketchbook more coherent and legible has meant that I am not using it so much as an exploration of visual ideas but more for picture making for a particular project. Often ideas start in my little traveling sketchbook and I am now photocopying these and including them in my printmaking sketchbook and log. I am going to start another parallel, larger sketchbook purely for sketching which may or may not relate to nay future printmaking project, but hopefully will explore lots of visual ideas.
3. Demonstration of Creativity – imagination, experimentation, invention, development of a personal voice
I have found linocut a more difficult area for experimentation and invention compared to monoprinting. I look forward to the coming projects exploring ways of inking and combining techniques. I struggle with the concept of producing editions of prints all the same. I understand the commercial sense but my personal voice is better expressed in constant experimentation, iteration and variation.
I am concerned that my experimentation is more technical than visual.
I have tried to reflect and act on my tutors comments.
I have enjoyed researching linocut artists on the internet and in books, but I am disappointed that there seems so little in print which I can access. Printmakers Secrets by Anthony Dyson was a beacon in the dark.
The internet is excellent for finding artists’ images but often very superficial. The artists I contacted for permission to reproduce their prints were very helpful with technical details and I have found Penny Bhadresi, Gail Brodholt and Ian Phillips have very helpful blogs/websites.
I enjoy going to as many Study Visits as possible, and have organised one myself.
I have tried to examine my work for each project critically identifying the strengths and weaknesses of the prints produced and my working methods. From each project, research point and study visit, I try to identify points to take forward.