Induction: Etching

I had prepared some photographs to work from, close-up images of papery fragments in the installation at Drawing Room gallery by Emma McNally. I was able to take lots of photographs which seemed to take the form of miniature landscapes, beautifully lit and peppered with the curious smudges and lines of McNally's drawings. The concave form of the paper and its starkly bright edges made me think immediately of aquatint and I played around on Photoshop darkening the background to make the forms even starker in contrast.

digital photograph, 2024

I began by sketching the details lightly into a soft ground, which helped me to plan the aquatint stage. I then applied a layer of fine aquatint over the plate, with a small amount of coarser grained rosin for the centre of the curved paper object with the idea of capturing the grainy texture from the photograph. I had polished the zinc plate as much as time allowed, so I hoped the first stop out would result in the bright white of the photograph being present in the print. I etched the plate in 4 layers then removed the aquatint and rhinds layers with limonene and methylated spirits.

soft ground print

soft ground process

layer of aquatint rosin

using rhinds varnish to stop out the white areas

stopping out each layer of aquatint to create varying tones

I was excited by the final print; particularly the bottom left section, and the shadow beneath the curved form. I find the process of aquatint makes me imagine and depict forms in a completely different way; it captures a lot of the 'stuff' and experience of printmaking that I love: unpredictable results combined with a blind-ish faith in my own knowledge that something good will come out. I am also mistrustful of artworks which are 'finished'; I tend to lose belief in them, whereas the malleability of a plate and the reproducibility mean they seem as points on a journey.

Aquatint on Somerset paper, 2024

I applied another aquatint layer to this plate and etched the background for another 45 seconds or so with the aim of darkening the background forms. The background now is much more successful; it recedes while still containing the impression of the other forms.

Aquatint on Somerset paper, 2024

Induction: Screen Printing

This was the first time I had done screen printing, apart from a small go when I was studying on my PGCE. Learning screen printing and lithography in two consecutive weeks made me realise there are huge gaps in my knowledge of printmaking. Actually, writing this further into the course, it's been exciting (and daunting) to learn about how different processes can be combined; screen etch-resist for example. Even to see how painterly some screen prints can become, which I didn't fully appreciate until I went to see the Kip Gresham works at Eames Gallery.

examples of student work

I used screen printing fluid to create multiple layers of gestural marks on 3 different sheets of film. I know now (especially seeing Kip Gresham's work) that if I do screen print again I'll use tusche and true grain film to create slow-drying softer marks more akin to drawing or painting. Unlike lithography, where I was scribbling down nerdy notes, I didn't feel as inspired but enjoyed the fast-paced process and found I was able to experiment much more than I'd thought; as long as I didn't spend too much time thinking.

Images showing the process

Original image, bitmap image, dither dot image

I wanted to expose a photograph onto my screen but I'm not keen on the pixellated quality of bitmap. The slideshow of images above shows, in order, my chosen image, bitmap edit and dither dot edit. My prints from this induction used a bitmap photograph (image 2). However, in a following session I learned about dither dots and I much prefer the soft diffused quality of this image; to me, it reflects the crumbly surface of the bull statue which is part of a large pediment sculpture in the Acropolis Museum dating from around 600BCE. Interestingly, the word 'dither' is from an old English word meaning to 'tremble' or 'quiver', which seems fitting for the idea of animate objects and makes me think about how photographs can render objects animate and fragment into tiny particulates as diffuse or solid as we want them to be.

My prints seem like a starting point where neither the expressive marks or the exposed photograph appear or work together how I would like. If the marks were tusche and more transparent, and covering all of the print, and the photograph created from soft dither which which seem to dissolve in the surface of the print....

The print says something and it's linked to my ideas; but it seems that the bull/object is being overwhelmed by brash marks when it should be dissolving into the print and quivering with life. Perhaps I'll come back to it.

Paper: A seminar with Craig Horsfall

Material manufactured in thin sheets from the pulp of wood or other fibrous substances, used for writing, drawing, or printing on, or as wrapping material.

• It was invented in China approximately 2000 years ago.

• Paper is formed in a mould. All papers have a 'wire side' and a 'felt side'. 'mould side'/'pressing side'.

• Laid moulds create lines of different density within the paper.

• Machine made paper can be formed on a cylinder machine (individual sheets) or a foudrinier machine (rolls).

• Grain direction. movement, shake or belt direction determines the fibre distribution. long fibres are in one direction. paper fibres swell outwards.

• Fibres. Hemp (rags). The first archaeological discovery of paper was made from hemp.

• 1800 - the industrialisation of paper-making.

• Fibres. longer fibres = stronger paper.

• Sizing. Gives paper more strength and controls absorbency. gelatine, alum.

• Longevity and care. Agents of deterioration: light, heat, humidity, pollutants and acids.

• Is paper sustainable? circular economies - recycling, paper uses wastage from other manufacturing processes. pollutants in the paper-making process?

• gsm = grams per square metre

• Laid paper = parallel lines from the mould.

• Surfaces and textures. rough (cold pressed), smooth (hot pressed).

• OBA - optical brightening agents. blue dyes make fibres brighter.

• paper shops: John Purcell, Shepherds, Conservation by Design (Japanese papers!)

I learned about Japanese paper making when I studied mokuhanga printmaking. In making Japanese style woodcuts, I found it useful to trial prints using different papers in the Awagami sample pack. Different paper types and colours really affected the success of the print and the way the ink transferred to the paper. My favourite paper is Kitakata Green, a grey-green colour like murky bath water which is surprisingly warm in tone. I would like to try using oil-based relief inks on this paper to see how solid colour presents itself, or even a very black aquatint.

I love seeing the traditional process of hand-making washi by rocking the water and pulp back and forth in such a practiced movement. It's learning about this and being so reliant on how paper 'acts' under the various of conditions print-making that makes me want to continue learning.