Using Marco's etching plate I created a positive from a freshly printed image. This allowed me to create several monoprints on an extremely light paper. Once the monoprints were dry, using spray adhesive the monoprints adhered to the stonehedge paper. They were dampened for the press. This technique has so much potential.
This sample print was created by dampening heavy stonehedge paper. This paper is tough enough to go through the press whilst damp. Through the pressure of the etching press, the ink transfers from the plate to the print.
Using an etching tool and crosshatching, the key lines from the Flash image were transferred to the plate. A sample print was made to access how deep and wide lines needed to be when creating the print. The sample requires a great deal more work to create area of contast. Too many areas of the print are unclear and the etch lines need to be prominent.
Wow - chine colle, having taught for over 25 years - studying printmaking as a minor within my university degree - it was a new technique for the teacher. I selected coloured papers of the lightest weight (those available within the storeroom) and used an old sample lino to practise this technique. I cut out a large shape in a rough fashion and it does not follow the portrait, but as a sample it did the trick. The mirror reserve did not phase me at all however, it proved extremely difficult for a number of students. Only the most resilient boys could stay calm throughout this process.
The clouds of dust were inspired by the practice of one of our influencing artists found within the scope and sequence. Apart from the work of Anne Starling the boys were encourage to find inspiration from the artworld when deciding how to carve their images.
An evaluation of this print - Ink is solid yet doesn't affect the quality of the lines. All edges are crisp and the overall image is free of marks. This print reveals are clean and precise printing method.
Using a black marker to plan the lino print is vital. It is a graphic process where solid black and white work to represent the subject matter. Students were advised to include 50% black and 50% white within their final printing plate. To create the illusion of depth, various methods of patterning were demonstrated via the work of Anne Starling. This image represents the process of both carving and the use of black marker.
Once again the aim was to transfer the original composition onto the lino by the quickest means available to a class of elective Yr 9 VAR students. Carbon transfer was the nominated technique and it is demonstrated in the two above images. Using a 4B pencil I traced over the key lines within the Flash composition. Using a pen I simply put pressure on the back of the photocopy to push the carbon onto the lino.
Any mistakes made during the demonstration were used as a teaching aid to warn students about possible mirror reverse errors.
