New Work: Portfolio -Printmaking (2)

New Work: Portfolio -Printmaking (2)

 

COLOUR (continued), and aspects of SCALE

 

Works and process 

 

Screen Printing 

 

 

South Ferriby Marina; “Yacht”, screen print, black 

Experiment: “Yacht” with colour applied during the printing process
 

 Urbscape 1”, screen print, black
 

 

Experiment: “Urbscape 1” with colour applied during the printing process

 

 

A printing screen ready for the inking process

 

Screen printing machine, Hull College

Monochrome

Over the previous few months I have investigated using more colour in my prints as shown in the examples above.

However, although some of the outcomes were relatively successful, I thought that overall the colours detracted from the quality of the prints and their visual impact. The impact was rather "muddled".

Scale within the picture plane

I therefore experimented further by using monochrome. I also used some of the images to experiment with the use of scale within the picture plane. This concept had already been useful in adding power to my paintings, and I felt that the same approach may have similar results for the printmaking side of my practice.

Etchings

 

River Ancholme: “Pylons”, etching, dry point and aquatint, monochrome, in burnt umber (above). The scale of the pylons was emphasised by the use of strong perspective.

I felt that the combination of the monochromatic colour scheme and the dynamic composition was successful. It emphasised the scale of the pylons by the use of a strong perspective angle and the burnt umber added atmosphere.

 

 Old River Ancholme: “Moorings”, etching with aquatint, monochrome, black

Here I used the scale and the height of the landing stage, with its reflection in the water, to add dynamism and mood to the image.

Old River Ancholme, “Moorings”, The zinc plate ready for inking up

Screen printing

 

South Ferriby Marina, screen print, monochrome, black

 

 

The original “Truegrain” drawing (pen and ink with ink wash), prior to being imposed onto the screen

The overhead conveyor belt, which conveys cement across the river to the factory beyond, is very over-bearing on the landscape. I used the scale of the conveyor belt as a powerful tool to emphasise its dominance over an otherwise "idyllic" scene.

Conclusions and relevance to my practice

Colour

As indicated above, I have  concluded that monochrome and the use of a muted palette for prints using a monochromatic colour, such as indigo or burnt umber, is more effective. This approach links better with the concepts of my painting practice, is more consistent, and the works as a whole hold together better visually.

As regards scale, the etching process restricts the size of the metal which can be used, and so the dimensions of my prints will remain approximately the same.

However, there is scope to use composition and the effects of scale to add power and dynamism to a print.

I experimented with this concept during the production of  prints such as “Pylons”, where the scale of the  structures was emphasised by the use of perspective.

I also found ideas behind  the use of scale helpful in constructing compositions around water and reflections, such as "Horkstow Bridge" and "Moorings".

As I move my print making practice forward, I will be concentrating on aspects of scale within a composition, and producing the final prints in a variety of monochromatic colours. My aim will be for this combination to add power to my works and engage the viewer.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This decision has assisted in honing in on the key elements of my practice statement and my approach to colour and a restricted palette.

Scale