I’m struggling to know what to submit here as I have some doubts about how to interpret the word “series”. However, here goes. I know I have practised all the skills.
Task 1 (Project 13)
Three combination Mono- and Lino-prints
Now the brief says these “may be printed on different types of paper and in different colour schemes” so I’m not sure if that means they should all be from the same lino-print. If so, I have those. But I am assuming three different ones.
1. Rood Tree
This is my favourite of the combinations of the script and images. I think it is also a monoprint as I printed it off a glass plate onto the paper which I then stuck onto the backing paper. Information is here. If I have misunderstood this brief, then there are more than three versions of the same linoprint here.
2. Once in a Pool of Light
This is a relief print using softcut, printed on mulberry paper and inked afterwards. A4 image on roughly A3 paper. Water-based printing inks and coloured drawing inks. (I’m assuming that counts as a monoprint?) Background to this print here.
3. Kitty Cougar
A series of prints which incorporate Chine colle techniques. I have the same issue here as above. I have done various versions of the same print, if that’s what’s required. But I’m going to assume a selection again. Note, I was unable to use metal foil until the end, and have used it in two of my final pieces, so am not including that here. I am also not including here the prints I did which involved printing onto coloured paper that had been glued down first- i.e. what I called printing onto collaged paper. Although these often gave better results, they may not count as chine colle.
1. Woman Kneeling
A5 Woodcut printed with oil-based inks using coloured tissue paper, printed on white A3 paper.
This is the most effective of my uses of chine colle I think, as the colours really communicate something powerful. The development of the print, as well as other versions of it can be found here and here.
This shows a variety of chine colle techniques, as well as different paper choices and inking techniques. I think this is appropriate to the theme. More information can be found here.
3.Gauguin still life
Woodcut, A5 image printed using oil-based ink with coloured tissue paper on white paper (A4 +)
This is one of several uses of chine colle with a woodcut based on a Gauguin painting. It’s one of my early ones when I was still experimenting and still actually trying to make paper as well.
This is a later, more polished one. I hadn’t actually realised, until getting feedback from my tutor, that the intention was to have the glued paper be smooth- I was thinking that the wrinkles and creases were actually part of the desired effect, and I quite like them. This is not wrinkle-free, and I’m still not sure how to achieve that without gluing the coloured paper down first, then printing. This one was done according to the procedure shown in the course folder, placing the coloured paper onto the printing block. I used a spray glue and gold-leaf glue, having found these worked much better than the water-mixed versions recommended in the course. The coloured tissue was cut and laid down starting with the dark colours. These were glued separately using the gold leaf glue, then the background layer, a sheet of very fine Japanese tissue paper (found in that same wonderful little Bucharest shop!), was sprayed.
4. Once in a pool of light
Softcut image, A4, printed on yellow tissue paper on white A3 paper.
This is a print onto a single sheet of tissue paper. Latterly, I really started to appreciate how the tissue paper picked up details and created textures on its own. In this example, I like the way it looks like the leather cover of a book. More discussion of this print here.
Task 3 (Project 15)
Final print series
3. Belle du Jour