Key Posts – Things Behind the Sun Summative.

1) A post documenting the two trips (including psychogeography drawings, panoramic drawing and macro-micro drawings)

Neath Valleys and Port Talbot Seafront.

2) A post documenting the initial ideas development (5 motifs)

Motifs – Development

3) A post documenting the development of your own responses through the workshops.

Drypoint Printmaking.

Chine-collé..

4) A post documenting the new contextual approaches you have developed through the project.

Bringing Print and Plaster Together…

 

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Bringing Print and Plaster Together…

From all the skills learnt in the workshops the most interesting one is learning that you can create plaster moulds of the drypoint plates.

Initially, I thought there wasn’t much you can do but then I began to experiment with the plaster.

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By creating this cast, the plaster was able to absorb the ink creating the impressions and patterns that they were on the plate. By allowing the plaster to do this the black slightly changed into blues and greys and these castings became more interesting than the prints on paper.

To take these further I wanted to combine the techniques already learnt (drypoint, chine-colle, mono-printing) with the plaster casting. To do this I begun to submerge the prints into the plaster before it dried. Once this was done I begun to scratch away at the plaster to reveal the prints. It was a way to contain the experiences together and not lose them essentially.

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Chine-collé..

Chine-collé was used as another technique to introduce colour into my work. Again another technique learnt in the past however, I was made aware that this technique can also be used to introduce imagery into the print to add another layer to the mix and create new textures. To experiment with this technique I wanted to add a lot of colour to one print and on another just a singular colour. This was to find which worked better and why.

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This soft pink creates a subtle contrast between the drypoint marks and doesn’t create a strong friction between the colours.

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This print is slightly different. The colours are too overpowering and the original print is beginning to get lost in the bleeding of the colours.

Both prints create an atmosphere whether that be a calming one are slightly aggressive. They both also create a sense of depth in the print. Also, due to the bleeding of colour, the image is allowed to escape from the rectangular barriers that are created from the etching plate. To take these further I will begin to play with imagery and introducing it into this particular print and how it will manipulate.

Drypoint Printmaking.

Drypoint is a printing technique that I learnt as a skill in the past, however, I believe during this project I have been able to develop this technique and take it further with other skills and knowledge. An example of this is combining mono printing with drypoint. This enables you to give a flat block colour on top of the printed black etch. Also using mono printing with the drypoint, you are able to push mark making and create surfaces through an illusion.

I find the plate more interesting than the print, and this is simply because it holds all of the marks and shows a journey that it has been through. The plate below has gone through a series of processes, beginning with drypoint, than mono-printing and finally, it was used to create plaster casts. You can see marks from all three of these techniques on the plate.

 

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The addition of mono-printing to the image really enhanced the drypoint and creates a new depth/layer to the print.

 

Motifs – Development

From the collection of drawings, we were asked to cut the drawings machine roll and organise into different categories. These drawings were then be developed into patterns/ motifs of imagery that reoccurred in the drawings. These motifs will then be taken into etching plates ready for etching.

The majority of the patterns are organic which again came from the responses during the drawing exercises. There is one motif that is figurative and is weak compared to the other three. As the three abstract motifs are stronger these will most likely be taken further. Why are they stronger? They are stronger because they capture the elements and the phenomenal and sublime experiences.

Neath Valleys and Port Talbot Seafront.

Neath Valleys

The first trip involved a wet and muddy walk in the Neath Valleys to experience the phenomenal waterfall in horrendous weather. This trip began the drawing machines.

By visiting in heavy rain it made the psychogeography drawings that little more special as they captured the weather as well as our drawings.  The sublime experiences that we have led to both abstract and figurative drawings. The abstract drawings seemed to have an organic and feminine quality to them. Maybe this was because of the natural responses I had encountered.

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Port Talbot

The final adventure was one to Port Eynon down in the Gower and it was a beautiful place to continue the drawings ready for development. It was a week-long trip however, I was only able to stay for a day.

The activities that were planned involved four panoramic views of the environment which would then build a 360-degree view, and also continue with the psychogeography drawings. From completing these tasks I wanted to construct drawings showing movement and fluidity in my surroundings and this evolved into drawings that responded to the movement of the water and the different sounds that I could hear. Being in the environment that I was in I was able to use all of my senses to create work that would benefit my next step of the project.

As I was only able to attend one day this wasn’t beneficial for myself, however, I am able to continue the psychogeography drawings this weekend in response to the French landscape. These drawings will again be in response to the experiences I will have and how they create an atmosphere, an aura for myself.

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Drawing Machine… a Fitzjohn Invention

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To begin the project we were gifted with the idea of the drawing machine. The idea of this machine is a small continuous sketchbook on the go. It was ideal as it allowed you to store it away easily when on a walk or even put a clear plastic bag around it to protect from the weather and still allowed you to draw.

The greatest function of this machine was that you would end up with a long continuous line of drawings and you could do anything with it. As the idea of the trips was to generate visual research, this machine was the key as it allowed you to produce fast and effective research which can be taken further into development.

This idea of working is one that will be continued into future work as a form of researching.