Course Review

My work in this course aimed to extend the range of themes and techniques I had developed in Printmaking 1 and develop my own distinctive voice and approach to my printmaking practice.

The course covered very diverse themes: landscapes, abstract, still life and portraits and pieces based on memory and imagination. My art from assignment 2 onwards progressively focused on underlying meanings rather than being purely figurative or exploring techniques. My work focused particularly on narratives around gender issues and relationships and what it means to be human.

All these ideas are still preliminary, but provide a  basis for further substantive development at Level 3 of Visual Communications degree. In many cases, although I started with a conceptual idea, the meanings and titles evolved in relation to the images as they emerged from technical decisions. Going forward I want to strengthen and further develop the underlying meanings I am trying to communicate through my work, carrying these through also to landscape, formal and random abstract and figurative portraits.

I significantly widened my technical skills from the monoprints, linocuts, collagraphs and chine colle I had produced in Printmaking 1. I made some very interesting new discoveries that are becoming part of my ‘style’, with more sophisticated use of abstract shapes and textures to enhance meaning:

I developed a reasonable level of skill with some new techniques extending my use of line and mark-making in:

I started to experiment rather less successfully with some other new techniques:

All the above have advanced my practice, but are more a beginning that has just scratched the surface of potential of these techniques.

The images selected for my Portfolio include particularly those where the final prints are of the highest technical standard I can currently achieve as a printmaker. But  – as an illustrator – what was most valuable and interesting in many ways was the experimentation behind some of the less polished work.  I particularly enjoy the way that  some types of plate (eg perspex drypoint) create resistance to mark-making tools and differential drying of ink (eg water-based monoprints) leading to an interesting unpredictability of line and texture. With more experience it will be possible to exploit these features for emotional impact, combined with a disciplined approach to shape and colour. 

I envisage that printmaking, often combined with collage, mixed media and digital manipulation and cropping will be a central part of a distinctive technical style in my Visual Communication work.

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