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
- larch planking
- oil based inks
- different papers
- cutting lino with linocutters, knife and dremel
- cutting plywood and larch with Japanese woodcut tools and carpentry tools
- lino etching – a miserable failure
- reduction and multiplate
- overprinting monoprinted backgrounds
- registration in a mount card jig
- registration with metal blocks
- hand pulling print using a baran and a spoon
- printing on an Albion press
- using photo software filters
Observational Skills and Visual Awareness
- combining photographic references and ideas drawn from life and imagination
- using block and linear mark
- looking at pattern
- combining patterns
- developing representational image into abstract design
- experimenting with different colours and tones
- experimenting with removing the print edge
2. Quality of Outcome.
I think I have produced a few prints which are strong in design and well executed, though, on the whole, I feel I have started a journey without reaching a destination in most of the projects, particularly in experimental marks on wood.
I think my use of colour is improving, helped by the purchase of a wider range of colours. I think starting with process colours is a useful grounding but I started to find it a straightjacket.
Application of knowledge:
I learned a lot by looking at the work of printmakers and I think this influence can be seen in the prints. I learnt a huge amount from ‘Japanese Woodblock Printing’ by Rebecca Salter, from the Printmaking Handbook series. My ‘Cedar Tree’ woodcut is pretty poor, but way better than I expected my first attempt at this to be.
Presentation of work in a coherent manner:
I continue to try to make improvements here.
Conceptualisation of thoughts, communication of ideas:
I try to use my sketchbook(s) for exploring ideas and developing them, and my learning log for explaining my objectives, physical practice and analysis of outcomes.
I have several sketchbooks of the go at once, and often an idea will start with a small sketch or photo which I will then transfer to my ‘course work’ sketchbook to develop into a printing plan. I hope that this is well explained and the process documented and understandable.
3. Demonstration of Creativity – imagination, experimentation, invention, development of a personal voice
I have found linocut a difficult and rather alien process. I am now feeling much more at home with it and the experimentation in this part of the course has widened my eyes as to what linoprinting can be.
I felt as though I could have carried on with the final project indefinitely and that I am only just barely on the brink of the free mark making which could be my personal voice. I only called a halt because I felt that I had really got to a point where I needed to send work in and have tutor feedback.
I enjoyed producing a modest little artists book and am constantly thinking how I can fight out of the box of rectangular prints on rectangular pieces of paper.
I have tried to reflect and act on my tutors comments. I would have liked to develop the ‘Strand Line’ print from Part 2 as he suggested, but , unfortunately, the plate disappeared from the print room. I developed both the ‘Paisley’ plate and the ‘Astro’ idea along the lines suggested.
I have attended the London Original Print Fair and Affordable Art Fair to see professional, selling prints. Stoney Road Press, representing Donald Teskey (collagraphs combined with etchings), and Gallerie Fetzer, representing Berndt Zimmer, were extremely helpful directing me to useful publications.
I have read extensively, especially from the Printmaking Handbooks series.
I have looked at many artists work on the internet. The artists I contacted for permission to reproduce their prints were very helpful, especially Chris Pig and Gail Mallatratt.
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.