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Media Memory Screenprint

Screenprinting techniques

!!Post in process

 

Made with Padlet

 

Screen printing is a printing technique whereby a mesh is used to transfer ink onto a substrate, except in areas made impermeable to the ink by a blocking stencil.

I used screenprinting as a supporting technique in:

Printing technique

There are various terms used for what is essentially the same technique. But they all have the following in common:

  • Use of a frame (generally wood or aluminium) on which a mesh  is mounted under tension. The mesh can be of different types: eg silk, polyester, nylon or metal and of varying degrees of fineness depending on the type of surface to be printed.
  • A stencil is formed on the mesh by blocking off parts of the screen in the negative image of the design to be printed; that is, the open spaces are where the ink will appear on the substrate. The stencil can be made through different techniques: direct stencils made with photoscreen techniques or using masking solutions and indirect stencils used as masks.
  • Mesh/frame preparation: The surface to be printed (commonly referred to as a pallet) is coated with a wide ‘pallet tape’ to protect the ‘pallet’ from any unwanted ink leaking through the screen and potentially staining the ‘pallet’ or transferring unwanted ink onto the next substrate. Next, the screen and frame are lined with a tape. The type of tape used in for this purpose often depends upon the ink that is to be printed onto the substrate. These aggressive tapes are generally used for UV and water-based inks due to the inks’ lower viscosities. The last process in the ‘pre-press’ is blocking out any unwanted ‘pin-holes’ in the emulsion. If these holes are left in the emulsion, the ink will continue through and leave unwanted marks. To block out these holes, materials such as tapes, speciality emulsions and ‘block-out pens’ may be used effectively.
  • A blade or squeegee is moved across the screen to fill or ‘flood’ the open mesh apertures with ink, and a reverse stroke then prints the image as the screen touches the substrate momentarily along a line of contact. This causes the ink to wet the substrate and be pulled out of the mesh apertures as the screen springs back after the blade has passed.
  • One colour is printed at a time, so several screens are layered to produce a multicoloured image or design. Hinge clamps keep the screen in place for easy registration

Bibliography

Adam, R. & Robertson, C., (2003) Screenprinting: the complete water-based system, London: Thames & Hudson.

Barker, D., Traditional Techniques in Contemporary Chinese Printmaking, London: A & C Black.

D’arcy Hughes, A. & Vernon-Morris, H., (2008) The Printmaking Bible: the complete guide to materials and techniques, San Francisco: Chronicle Books.

Grabowski, B. & Flick, B., (2009) Printmaking: A Complete Guide to Materials and processes, London: Lawrence King Publishing.

Griffiths, A., (1980) Prints and Printmaking: An introduction to the history and techniques, London: British Museum Press.

Martin, J., (1993) The Encyclopedia of Printmaking Techniques, London: Quarto Publishing.

Pogue, D., (2012) Printmaking Revolution : new advancements in technology, safety and sustainability, New York: watson-guptill publications.

Stobart, J., (2001) Printmaking for Beginners, London: A&C Black.

Stromquist, A., (2004) Simple Screenprinting: basic techniques and creative projects, New York: Lark Books.

Williamson, C., (2011) Reinventing Screenprinting, London: A&C Black.

Woods, L., (2011) The Printmaking Handbook: Simple techniques and step-be-step projects, London: Search Press.

Video Tutorials

Overview

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Speedball Art

Screen Printing Products

How to Use Speedball Screen Print Materials

Stencils

Cut paper

Drawing Emulsion

Drawing fluid

Drawing fluid

Drawing fluid

Photo

Artists

Andy Warhol

Will Kuhlke

Oli Fowler

Barton

Catspit

Monoprint screenprints

Poster Art

Valdez

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https://www.youtube.com/watch?v=adMYcD7lScQised’ area of varnish is created. When cured at the end of the process, the varnish yields a Braille effect, hence the term ‘High Build’.

References

Adam, R. and C. Robertson (2003). Screenprinting: the complete water-based system. London, Thames & Hudson.

Grabowski, B. and B. Flick (2009). Printmaking: A Complete Guide to Materials and processes. London, Lawrence King Publishing.

Pogue, D. (2012). Printmaking Revolution : new advancements in technology, safety and sustainability. New York, watson-guptill publications.

Stromquist, A. (2004). Simple Screenprinting: basic techniques and creative projects. New York, Lark Books.

Williamson, C. (2011). Reinventing Screenprinting. London, A&C Black.

Categories
Chiaroscuro Memory

Gustav Dore forthcoming

Categories
Abstract Abstraction Figure Landscape Media Memory Portrait

Hughie O’Donoghue

O’Donoghue was born in England but lived and worked for many years in County Kerry, Ireland. He graduated from Goldsmiths in 1982 and was Artist in Residence at the National Gallery, London from 1984-85.

His work is characterised by an engagement with the past. He uses figuration and abstraction to explore themes of human identity, memory, remembering and experience; and draws on history, mythology and personal records to create works which resonate with emotional intensity.

His printmaking includes very large carborundum plates of figures. He mixes fine grain carborundum, acrylic paste and black acrylic paint. He paints this on the plate with a thick brush, wiping off and reworking the image on the plate before it dries. This makes a complex, multi-layered texture. He often uses aluminium plates. Prints on thick Arches paper.

Hughie O’Donoghue installation at IMMA  2009

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The Measure of All Things Introduction

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‘The Road’

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Lost Histories

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‘Artists never completely control the meaning of their work’

Artist’s Laboratory Royal Academy 2005  review

The Measure of all Things Westminster Abbey 2014

bbc your paintings page

Categories
Collagraph Inspiration Media Memory

Rolf Nesch

 

Rolf (Emil Rudolf) Nesch (1893 – 1975) was an expressionist artist, especially noted for his printmaking – ‘material pictures’. He is one of the first artists to have consciously used collage to create collagraph printing plates.

Rolf Nesch tribute

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Google images

 

Nesch was born in Esslingen am Neckar, and studied at the academy in Dresden from 1912 to 1914. He then participated in World War I, but was taken prisoner by the British. In 1929 he settled in Hamburg to continue his painting career, influenced by expressionism in general, especially Ernst Ludwig Kirchner and Edvard Munch. Upon the Nazi takeover in Germany in 1933, Nesch repatriated to Norway.

Inspired by Norwegian scenery and working life, he gave up painting and produced the following year his first so-called material picture, and also took up sculpture. Drawing continued to be a key means of expression. But it is as printmaker that Rolf Nesch made his most significant contribution. As a technical innovator he discovered the potential in new materials – using metal and found objects as the basis for collagraphs. He gave depth and texture to prints by soldering out metal shapes and wire to metal printing plates. He then took this further by drilling holes in plates and sewing to the base plate. The prints were so deep he needed 8 blankets to get the right pressure and very heavy strong paper.Many of his images are narrative with bold use of cutout figures.

Nesch died in 1975 in Oslo. The Nesch Museum opened in 1993 in Ål, where he had lived for twenty-five years, to commemorate his hundredth anniversary.

Categories
Inspiration Landscape Memory Natural Printmakers Woodcut

Richard Bosman

Richard Bosman (B 1944) is an Australian artist and printmaker who has produced woodcuts and linocuts since 1980s.

Google images for Richard Bosman linocut

Many of Bosman’s paintings and prints are concerned with tragedies in dark urban settings, on rough seas, and in eerily quiet woods.  They have been influenced by expressionist printmakers like Edvard Munch and Emil Nolde. Also Japanese printmakers like Hokusai.

Some of his work is very experimental. He printed Smokers (1982) with his wife in an edition of two rolls of paper towels.

Born in India, raised in Australia, and the son of a merchant sea captain, Bosman has repeatedly returned to the setting of the sea. In an exhibition “Death and the Sea” at Owen James Gallery  he depicts different aspects of the South Pacific sea: volcanoes, moonlit voyages and farewells, small rowboats fighting gigantic waves – “mankind is fickle, life is fleeting, and that the ocean remains unconcerned with our plight”.
“There is a cinematic beauty to these works by Bosman.  We sometimes feel as though we are looking at a film strip stopped in time, somewhere between cause and horrible effect.  Works such as Volcano and Fog Bank are subtle in their ability to show the progress of time, but there are visual gaps in it, and it is in these gaps that much of the intrigue lies.  In Night Sky the effect is almost imperceptible.  Here, only the stars move, and in this movement we find we are disoriented. Both South Seas Kiss and Mutiny share the short-lived joy of shore-leave, as a captain is first enraptured by an island girl only to meet his demise once he turns his back.”
 

Categories
Chiaroscuro Inspiration Landscape Memory Printmakers Urban

Frans Masereel

Frans Masereel 1889 1972 Die Passion eines Menschen 1918 ChateauBoynetAgency 2012

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The City

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Google images

Frans Masereel (31 July 1889 – 3 January 1972) was a Flemish painter and graphic artist who worked mainly in France. He is known especially for his woodcuts. His greatest work is generally said to be the wordless novel Mon Livre d’Heures (Passionate Journey). He completed over 20 other wordless novels in his career. Masereel’s woodcuts strongly influenced the work of Lynd Ward and later graphic artists such as Clifford Harper and Eric Drooker. There is a Frans Masereel Centre (Frans Masereel Centrum for Graphix) in the village of Kasterlee in Belgium.

Frans Masereel was born in the Belgian Blankenberge on 31 July 1889. He moved to Ghent in 1896, where he began to study at the École des Beaux-Arts in the class of Jean Delvin at the age of 18. In 1909 he went on trips to England and Germany, which inspired him to create his first etchings and woodcuts. In 1911 Masereel settled in Paris for four years and then emigrated to Switzerland, where he worked as a graphic artist for journals and magazines. His woodcut series, mainly of sociocritical content and of expressionistic form concept, made Masereel internationally known. Among these were the wordless novels 25 Images of a Man’s Passion (1918), Passionate Journey (1919), The Sun (1919), The Idea (1920) and Story Without Words (1920). At that time Masereel also drew illustrations for famous works of world literature by Thomas Mann, Émile Zola and Stefan Zweig. In 1921 Masereel returned to Paris, where he painted his famous street scenes, the Montmartre paintings. He lived for a time in Berlin, where his closest creative friend was George Grosz. After 1925 he lived near Boulogne-sur-Mer, where he painted predominantly coast areas, harbour views, and portraits of sailors and fishermen. During the 1930s his output declined. In 1940 he fled from Paris and lived in several cities in Southern France.

At the end of World War II Masereel was able to resume his artistic work and produced woodcuts and paintings. After 1946 he worked for several years as a teacher at the Hochschule der Bildenden Künste Saar (de) in Saarbrücken. In 1949 Masereel settled in Nice. In the following years until 1968 several series of woodcuts were published, which differ from his earlier “novels in picture'” in comprising variations of a subject instead of being a continuing narrative. He also designed decorations and costumes for numerous theatre productions. The artist was honoured in numerous exhibitions and became a member of several academies. Frans Masereel died in Avignon in 1972 and was entombed in Ghent. The cultural organizationMasereelfonds was named after him.

Influence

From Mon Livre d’Heures (A Passionate Journey, 1919)

The American graphic artist Lynd Ward was greatly influenced by Masereel in creating his novels in woodcuts. A number of cartoonists have cited Masereel as an influence on the development of the graphic novel: Art Spiegelman cited Mon Livre d’Heures as an early influence on his Maus. Will Eisner cited Masereel as an influence on his work, as has scratchboard novelist Eric Drooker.

Wordless novels

Source: edited from Wikipedia articles on Masereel and his different works, the You Tube videos and reading of his graphic novels themselves.

Categories
Abstraction Inspiration Memory Portrait

Ibrahim El-Salahi

Ibrahim el-Salahi  (1930 – present) is a Sudanese artist painter and former politician and diplomat.He is considered a pioneer in Sudanese art. He developed his own style and was one of the first artists to elaborate the Arabic calligraphy in his paintings.

website: http://ibrahimsalahi.com

Google images

Ibrahim El Salahi Interview Tate Modern, July 2013

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African Art on Display at London’s Tate Modern

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Starts with in-depth interview with El-Salahi on his experiences in 1970s.

Tate Shots exhibition overview
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Ibrahim El Salahi Focus on Africa BBC World

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Development of his art

El-Salahi was born on September 5, 1930, in Omdurman, Sudan. He studied Art at the School of Design of the Gordon Memorial College, currently the University of Khartoum. On the basis of a scholarship, he subsequently went to the Slade School of Fine Art in London from 1954 to 1957. He also stayed in Perugia in Italy for some time, to enlarge his knowledge of renaissance art. Back in Sudan, he taught at the School for Applied Arts in Khartoum.

In 1950s, 1960s and 1970s his work is dominated by elementary forms and lines. When El-Salahi returned to Khartoum to teach at the Technical Institute in 1957, he became one of the lead artists in a movement known as the ‘Khartoum School.’ Having gained its freedom from British colonial rule only one year previously, Sudanese artists were trying to define a new artistic voice and means of expression for the country. Yet when he held an exhibition of his work from the Slade at the Grand Hotel in Khartoum, Salahi’s academic style was uniformly rejected. Salahi took some time out from painting to travel around the country to seek inspiration. Here, the influence of Arabic calligraphy, which he had learned as a young child, became more pronounced in his painting, as he began to integrate Islamic signs and scripts into his compositions. Speaking of this era, the artist himself said:

‘The years 1958-1961 were a period of feverish activity on my part in search of individual and cultural identities […] Those years, as it turned out, were the years of transformation and transformation that I went through as far as my work was concerned.’

In 1962 he received a UNESCO scholarship to the United States, from where he visited South America. From 1964 to 1965 he returned to the US with the support of the Rockefeller Foundation, and in 1966 he led the Sudanese delegation during the first World Festival of Black Arts in Dakar, Senegal.

Self-Portrait of Suffering (1961) is one of his best-known works from this time. The distended face that becomes almost equine, the dry brush marks and muted palette, show influence of Picasso, who himself appropriated distorted facial features from West African masks. The inability to trace the visual language to a root source is an articulate allegory for the artists’ sense of creative displacement at this time. Other works, such as Reborn Sound of Childhood Dreams (1961-5), integrated the crescent, a motif of Islamic art that recurred frequently throughout his work. El-Salahi also explored the formal properties of paint. Some canvases are incredibly heavy, with a thick impasto crust of paint (Victory of Truth (1962); Dry Months of the Fast (1962)); others with such thin layers of paint the image barely sits above the canvas, such as Vision of the Tomb (1965), crisp detail echoes traditional Arabic miniature painting.

After working for the Sudanese Embassy in Britain for a time in the early 1970s, El-Salahi was offered the position of Deputy Under Secretary of Culture at the Ministry of Information in Sudan under the military dictatorship of General Gaafar Nimeiry. After a failed military coup in which a relative was implicated, he was arrested in 1975, accused of anti-government activities and incarcerated for just over six months. El-Salahi is a Muslim of a Sufi sect, and during this trying time he discovered that the harrowing conditions he was subjected to could be escaped only through his deep spirituality. This was, according to the artist, a time of great personal change. The quiet pen and ink drawings and prose that make up Prison Notebook show a period of introspection and self-examination, with linear and fluid gestures that skirt tentatively across the page.

Upon his release, the artist relocated to Qatar. His work becomes rather meditative, abstract and organic. Subsequently his work is characterized by lines, while he mainly uses white and black paint.

In the late 1980s, El-Salahi began to absorb more of the forms of futurist figures. Still using a pen, his figures become machine-like, solid and heavy, composed of lines, tangents, and geometric shapes. The interlocking ellipses of Boccioni can be found in compositions such as The Inevitable (1984-85), and Female Tree (1994), and dense cross-hatched lines cement the image to its support.

TateShots: Ibrahim El-Salahi’s ‘The Inevitable’

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Often considered El-Salahi’s masterpiece, The Inevitable was first conceived by the artist during his wrongful imprisonment. Deprived of paper, El-Salahi would sketch out plans for future paintings on the back of small cement casings, before burying them in the sand whenever a guard would come near. Working in this manner led to the artist developing a new style, one seen in The Inevitable, where a painting spreads out from what he refers to as the ‘nucleus’, or the germ of an idea, with a meaning hidden even from the artist himself until the work is finished. Only when he saw The Inevitable completed did El-Salahi realise how clear the message was; that people must rise up and fight tyranny and those that suppress them. This was something he felt was relevant not just to his own life when he created the work in the mid-eighties, but to all of Sudan.

When in 1998 El-Salahi moved to Oxford, this new interest in bold geometric lines was pushed further. Using the english countryside as his subject, he began using vertical parallel lines to describe the form of a tree across a series of paintings and drawings. The use of geometric shapes to evoke natural forms perhaps harks back to the Islamic tradition of using geometric pattern to describe the order of the world. Yet through the prism of El-Salahi’s oeuvre, works such as Tree (2008) become Mondrian-esque divisions of canvas, panels of colour against white, that are nonetheless representational.

Many of his compositions suggest painting as meditation or a means of transcendance. Often praying before beginning to work, he says he has little control over the final image on the canvas; the creation of his works becomes almost an autodidactic gesture. Unlike so many established painters, who in later life fall into a distinct, comfortable style, El-Salahi continues to experiment and test himself and his art, integrating Western and Sudanese influences, exploring the boundaries of visual language and transcending a fixed cultural identity.

Rebecca Jagoe: Ibrahim El-Salahi: Painting in Pursuit of a Cultural Identity

Categories
Inspiration Media Memory Portrait

Njideka Akunyili

website: http://njidekaakunyili.com

Google images

Njideka Akunyili Crosby’s complex, multi-layered works reflect contemporary transcultural identity drawn from the artist’s memories and experiences.  Her large-scale figurative compositions combine drawing, painting and collage on paper.  She uses the visual language and inherited traditions of classical academic western painting, particularly the portrait and still life but combines these with collage of colours and textures that give them an African identity.

She portrays images of family and friends, in scenarios with details derived from everyday domestic experiences in Nigeria and America. These include recollections from the formative years of her upbringing, as well as more recent relationships and experiences. Her work often features an element of self-portrait, as in a series of intimate scenes of the artist with her husband made in the early years of their marriage. Her collaged paintings present a compelling visual metaphor for the layers of personal memory and cultural history that inform and heighten the experience of the present.

Biography

Akunyili Crosby was born in Enugu, Nigeria in 1983 and lived there lived until the age of sixteen. In 1999 she moved to Los Angeles, where she has remained since that time. Her cultural identity combines strong attachments to the country of her birth and to her adopted home, a hybrid identity that is reflected in her work.

Technique

She complements and enhances her paintings by carefully chosen and integrated collage elements, predominantly acetone-transfer prints of small photographic images. Some of these images are from the artist’s archive of personal snapshots, magazines and advertisements, while others are sourced from the internet; they feature images with a thematic resonance to each particular work.

Source Victoria Miro website

Inspiration for my own practice

It would be interesting to try chine colle for more figurative work like this – using ready printed African textured papers under linocut would work well. Though it would require a lot of preparation and planning to get the collages elements properly in place.

 

Categories
Abstraction Chiaroscuro Etching Inspiration Linocut Lithograph Media Memory Monoprint Portrait Printmakers Still Life

Pablo Picasso

To be further developed as I finish Assignments 3, 4 and 5.

Picasso’s work is a key influence in my printmaking, both stylistically and conceptually. I am particularly interested in his abstract work both that influenced by African art with its ferocious angularity that is also echoed in Guernica, and the fragmented light of the abstraction in analytic cubism ‘trying to communicate the perfume’ of an image. See particularly:

and forthcoming:

  • Assignment 4: Abstract Self Portrait (1932 paintings, cubism, portraits and lithographs) forthcoming
  • Assignment 5: From memory (influenced by Guernica) forthcoming

Painting isn’t an aesthetic operation; it’s a form of magic designed as a mediator between this strange, hostile world and us, a way of seizing the power by giving form to our terrors as well as our desires.(p11)

Painting is stronger than I am. It makes me do what it wants. (p70)

A picture is not thought out and settled beforehand. While it is being done it changes as one’s thoughts change. And when it is finished, it still goes on changing, according to the state of mind of whoever is looking at it. (p12)

References and Resources

  • Borchardt-Hume, A. and N. Ireson, Eds. (2018). Picasso 1932: The EY Exhibition. London, Tate Publishing.
  • Clark, H., Ed. (1993). Picasso: In His Words. San Francisco, Collins.
  • Cohen, J., Ed. (1995). Picasso: Inside the Image. London, Thames & Hudson.
    Coppel, S. (1998). Picasso and Printmaking in Paris. London, South Bank Publishing.
  • Cowling, E., N. Cox, S. Fraquelli, S. G. Galassi, C. Rigpelle and A. Robbins (2009). Picasso: Challenging the Past. London, National Gallery Pubications.
  • Eik Kahng, Charles Palermo, Harry Cooper, Annie Bourneuf, Christine Poggi, Claire Barry and B. J.C.Devolder (2011). Picasso and Braque: The Cubist Experiment 1910-1912. Santa Barbara, Santa Barbara Museum of Art.
  • Picasso (1980). Picasso: Lithographs. Toronto, Dover Publications.
  • Picasso (1981). Picasso: Line Drawings and Prints. Toronto, Dover Publications.
  • T.J.Clark (2013). Picasso and Truth: from Cubism to Guernica. Princeton and Oxford, Princeton University Press.

Picasso as artist

Picasso’s life and evolution of his style from:

    • Highly accomplished figurative drawings and paintings from boyhood to late teens
    • Blue period (1901–1904) influenced by the suicide of his close friend Carlos Casagemas
    • Rose period (1904–1906) during his early marriage and relationship
    • African influence (1907–1909), notably Les Demoiselles d’Avignon as a sudden leap to abstraction (see also Wikipedia overview of images from, this period)
    • Analytic cubism (1909–1912)
    • Synthetic Cubism (1912–1919), also referred to as the Crystal period.
    • Neoclassicism and surrealism (1919–1929)
    • The Great Depression to MoMA exhibition: 1930–1939 – the period of Guernica, his 1932 paintings of Marie-Thérèse Walter and the Vollard Suite etchings
    • Later works to final years: 1949–1973 combined elements of his earlier styles

    Overview: BBC Modern Masters Series by  Alastair Sooke

    Gives an overview of Picasso’s life and art and the way they influenced each other, and the influences that Picasso’s art still has for us today.

    Les Demoiselles d’Avignon, MoMA

    A detailed discussion of the origins and meaning of this painting.

    Exhibition Review: Exhibition Review : Picasso 1932 – Love, Fame, Tragedy at the Tate Modern 2018

    The Exhibition focuses on his numerous paintings in the one year of 1932, influenced by his relationship with Marie-Thérèse Walter. See catalogue:

    Borchardt-Hume, A. and N. Ireson, Eds. (2018). Picasso 1932: The EY Exhibition. London, Tate Publishing.

    Girl before a Mirror

    Discussion by a teacher of the ways in which the meanings of this painting are seen and explained to children.

    Picasso portraits at the National Gallery

    Looks in particular at multiple viewpoints and cubism.

    Guernica and attitudes to politics

    Picasso’s last paintings are very poignant, but not well received.

    Google Picasso drawings

    Picasso as printmaker

    Picasso (1881–1973)  made prints throughout his career – over 2,500 principally in etching, lithography and linocut, but also monoprints.

    Google Picasso monoprints

    Google Picasso lithograph

    The Vollard Suite at the British Museum (etchings)

  • Google Picasso etching

    Linocuts

    Invention of the reduction linocut

    His earliest linocut is from 1939, but his major period of working in this medium was from the mid-1950s to the early 1960s. During this time the artist resided mainly in the south of France, far removed from his collaborative involvement with the master printers in Paris where he had made his etchings and lithographs in the 1930s and 40s. He began by producing linocut posters for ceramic exhibitions and bullfighting events in Vallauris with the talented local printer Hidalgo Arnéra.

    Within a very short time Picasso was finding new ways of producing colour linocuts which dispensed with the orthodox method of cutting a separate block of linoleum for each colour.  He devised a method of progressively cutting and printing from a single block that required him to foresee the final result, as once he had gouged away the linoleum surface he could not go back.

    Linocuts Exhibition British Museum exhibition: 10 January – 6 May 2014

     Still Life under the Lamp (1962) depicts a still life of apples next to a glass goblet, brightly illuminated under a lampshade at night. The BM exhibition shows nine stages, beginning with a blank tabula rasa, Picasso progressively cut and printed the single block, gradually building the image with increasing complexity. At each stage the viewer sees an image that would appear finished but Picasso goes further, pursuing it to its final form. (See Google images)

    Jacqueline Reading (1962) a series consisting of four progressive proofs for a monochrome subject, Jacqueline Reading, Picasso’s second wife Jacqueline Roque with whom he lived in the last years of his life. She is posed reading, one hand held to her face and eyes cast down, locked in an interior world. For this print Picasso used two blocks. In the first block he scratched the surface with a stiff comb to describe the form of Jacqueline’s head and bust in tonal terms. A second block was cut with gouges to leave just her outline. Then the print from the second block was superimposed over the first to achieve the final image. (See Google images)

  • Other linocuts: Google Picasso linocut ;
  •  before the lance avant la pique 1959 1
  • Deux femmes près de la fenêtre, 1959
  • Danseurvet musicien  
  • Les Banderilles Like Cretan. Like the composition. How about the background?.
  • Trois femmes 1959
  • le vase de fleurs  
  • tete de femme de profil

Picasso lithographs: Google images

Picasso drypoint : Google Images

Painting technique: Cubist

MoMA painting techniques series has an interesting overview of how to draw multiple perspectives.

 

Categories
Inspiration Linocut Media Memory Printmakers

Sybil Andrews

Sybil Andrews (19 April 1898 – 21 December 1992) was an English printmaker best known for her modernist linocuts portraying the energy and excitement of urban life. Together with her  informal partner Cyril Power she helped in the establishment and became the first secretary (1925–1928) of the The Grosvenor School of Modern Art.

Her linocuts are a key source of inspiration for my linocuts in Project 5.1: Grand Arcade

List of works

For more see: Google images

References:

Clifford S Ackley ed British Prints from the Machine Age: Rhythms of Modern Life 1914-1947 Thames and Hudson 2008

Wikipedia