This has been one tough module. Monoprinting and especially collatype printing did not come easy to me. It was messy and I didn’t like the way that I had very little control over the final outcome. Maybe with time I would have found better ways to make it work for me, I like using stencils and overprinting and I was satisfied with the results.
I’m finding it very difficult to assess what I have done and comment on where is fits against the standards for a degree level course. I would be more than happy if I was submitting the work for a GCSE and I’d be satisfied if it was being assessed for an A’Level course but for HE4? Am I really showing that I am stretching myself sufficiently, is there evidence of enough consideration, expertise and inspiration for this to be called degree level? I’m not sure, not sure at all.
There are some pieces that I would consider framing, is that a good marker?
There are some that I feel have balance and energy, is that enough?
And where in all of this is the link to textiles? I have done some printing on fabric but almost as an after thought. Should I have taken this on and developed the fabric prints more? would that have left me feeling more satisified and feeling that I had pushed the boundries more with this assignment?
Time and, most significantly lack of time, has been a crucial factor with the last 2 parts of MMT. I am running out of it basically. When I started ATV we had 5 years to complete all of the level 1 courses and I was slow to get moving and it took me 2 years to finish it all. The overall time allowed now is 4 years for level 1 and this March saw my 3 year anniversary and I’ve still got MMT to finish and Ideas and Processes to complete. I have not excuse for this other than a busy life so I cant see me qualifying for any extensions.
Now I’m struggling with moving forward, reviewing the whole of MMT and deciding on a final piece. It’s a classic case of being swamped by the past and fazzed by the future.
I went back to simply practising and testing the collage block technique for the final 4 prints.
- Rubbing away the paint before making the print
- Using collage items with a similar height
- Using a rolling pin to emulate the pressure of a printing press
What didn’t work:
- The quality of the final prints was murky
- The images weren’t very interesting
It was the print made with pre-cut foam pieces that made the best quality print and I would be tempted to use foam sheets if I ever make a collage print again.
What I’ve learnt:
- Use a sealant with good smooth coverage
- The nicest and prettiest items don’t always make the best prints
- Testing the print with a tracing paper rubbing is a useful test of the end result
- Overprinting and layering how I make the best prints.
The collage print of the Moroccan door looked good once it had dried and I was quite eager to print with it.
How much better does the print look the right way round, I thought I might just give it one more go. I wasn’t happy with the twisted plastic bag image either. I know I should have worked from an actual photocopy of the image and cut out the separate elements and used these as templates rather than just randomly cutting out papers in a vague approximation of the actual shape.
I also hadn’t tested using Polyfilla on the collage so I added some detail with that and the silicone.
Looks okay, you wait till you see the abomination that was the print and the print from the print ( my attempt to get a print the right way round.
In the end I was satisfied with some of the earlier prints and like before I was happiest with the collage board.
I did kind of rush this exercise. I wasn’t looking forward to using The Polyfilla and I found the smell of the transparent sealant really uncomfortable. I can think of better ways to make print blocks and it’ll be a while before I do this again.
It’s very hard to continue working at something you don’t like but there’s great value to doing this occasionally; it keeps you fresh and open to new ideas, even if in the end you don’t like them.
The resulting prints were okay and I’d probably used them cut down for adding details to other printing projects so not all was lost.
I was away from my workroom on this day and I didn’t want to miss a days working but didn’t think it was appropriate to use polyfilla and smelly sealant in a village hall.
So I jumped ahead a bit and started working on the collage print.
As you look at my sketchbook pages please note the return of my nemesis The Reverse Print!
Building the print block
What went well:
- I enjoyed doing the research
- Good selection of papers and cards
- Interesting source material
What didn’t work
- It’s back to front
- Composition not quite balanced between texture and detail
- Labour intensive
What I liked:
- Making the block
- How the block looked before adding the paint
What I didn’t like:
- The sticky glue needed to stick the bits down
- The smell of the varnish used to seal the block
- The way the paint went all over the place
- The prints.
What I would do differently:
- Use a better sealant ( I used a spray varnish which didn’t provide enough coverage)
- Make the elements the same height
I tried printing on all sorts of papers with all sorts of mediums and the only bit I vaguely like is the paint battered block with bits of extra ephemera. Don’t ask where they came from or how they got onto the board, all I can say is I was bored, frustrated and tired!
This is going to be tricky (I’m not always such a pessimist, I promise). I don’t have a huge amount of time, I don’t want to spend any money and I don’t like polyfilla.
I was going to have to rely on good source material and texture.