Regional Print Centre Symposium

Wednesday 14th February 2018

I attended the annual Print Symposium at the Regional Print Centre. The speakers were Wuon-Gean Ho, Hartsheath Project, Laura Boswell and Darvid Armes. I found the day particularly inspiring and came away with lots of ideas to progress my print making further.

Wuon-Gean Ho

I have been making prints for 25 years about fantastical dreams and loveable beasts.
I hope you enjoy looking through my collection of work.

http://www.wuongean.com/

Colour Linocut with Nick Morley

This two day course enabled me to practice more with the 2 colour printing and also provided me the opportunity to practice with the image I plan to use for the Twenty Twenty. I definitely feel I achieved a lot over this two days and that my confidence in lino cutting and printing has increased. I also loved the safe wash inks we used and much prefer using these oil based inks to water based ink.

Screen Printing with Tom Frost

This workshop focused on using screen printing with two colours to achieve a third colour. During this two days, I became more confident with the idea of layering colour in printing.

Tom Frost studied illustration at Falmouth College of Art, and since graduating in 2001 has been working as a freelance illustrator in Bristol. For three years he has been a member of Snap Studios in central Bristol pursuing his love of screen printing. His work is inspired by his passion for old match boxes, vintage tin toys, folk art, children’s books and stamps. Utilising screen printing, plywood, vintage Meccano, acrylic paint, Gocco machines and perspiration, he hopes to create items that people will cherish for years to come.

http://www.art-angels.co.uk/cat/artists-tom-frost

Artist Books with Estella Scholes

3rd August 2017

Having worked with Book Making previously, I was really looking forward to this workshop. We began this workshop by creating some Flutter Book templates from A4 sheets of paper.

Once we were comfortable with the process we then spent some time practicing on prints that had been previously left at the Print Centre. As I was already familiar with the process I found it easier to get started with this.

We then discussed a variation on the Japanese Stab Stitch, a two hole version and looked at binding a book using an elastic band and a three hole pamphlet stitch.

We then had the opportunity to begin adding some covers to the books we had created earlier.

Combination Printing with Greg Fuller

27th July 2017

We began the day with a brief introduction into the types of printing processes we are likely to encounter.

Conventional printing has four types of process:

  1. Plano-graphics, in which the printing and non-printing areas are on the same plane surface and the difference between them is maintained chemically or by physical properties, the examples are: offset lithography, collotype, and screenless printing.
  2. Relief, in which the printing areas are on a plane surface and the non printing areas are below the surface, examples: flexography and letterpress.
  3. Intaglio, in which the non-printing areas are on a plane surface and the printing area are etched or engraved below the surface, examples: steel die engraving, gravure
  4. Porous, in which the printing areas are on fine mesh screens through which ink can penetrate, and the non-printing areas are a stencil over the screen to block the flow of ink in those areas, examples: screen printing, stencil duplicator.

https://en.wikipedia.org/wiki/Printing

Four parts of the printing process to remember:

  • Origination
  • Method of Transfer
  • Substrate, Paper
  • Printing Ink

See here for useful jargon: http://www.themaxdp.co.uk/design-print-web/jargon-buster-print.html

This was followed with a discussion about the importance of using a registration system when printing followed by a practice at setting up a basic registration system to be used with some screen printing later in the day.

We created a template using cellophane for the size of paper that we we going to use by drawing an outline in the centre for the size of the print. After creating an acetate with our image, we then placed a cross in one corner of the template and one corner of the acetate with the printed image.

After transferring the image to our screens using the light box, we then began to set the registration up on the screen bed ready for printing.

First, we added some corner supports to the screen to make an even snap – this is used to control the contact of the screen with the substrate – this helps you to keep your screen prints crisp and sharp.

We then used the template we had created earlier with the acetate to line up the image on the screen with the image on the acetate.

Once everything was lined up we created registration tabs and placed them along one long side and one short side of the cellophane template – these were there to line our paper up with once we started printing.

Once we had set up our registration system on our screen beds we then made some screen prints using the screen bed and the registration system we had created.

For the latter part of the day we created a collagraph to be used with the planned viscosity printing.

In collagraphy, a variety of materials are applied to a rigid underlying layer (such as ragboard or masonite). The word is derived from the Greek word koll or kolla, meaning glue and graph, or the act of drawing. I begin by making collages of cardboard, pasted paper and other textures.  I can ink the resulting plate as an intaglio, or with a roller or paintbrush, or some combination of these. The resulting print is termed a collagraph. Substances such as acrylic texture mediums, sandpapers, cloth, string, or cut cardboard can all be used in creating the plate. Collagraphy is a very open printmaking method. Ink can be applied to the upper surfaces of the plate with a brayer for a relief print, or ink can be applied to the entire board and then removed from the upper surfaces, leaving it in the lower spaces, resulting in an intaglio print.

http://www.marthahayden.com/viscosityprintingandcollography.html

Screen Print with Bonnie Craig

20th July 2017

Bonnie began the workshop with a general introduction to the types of screen printing that we could possibly use/work with during the workshop.

  • Over Printing/Transparency
  • Printing Shapes
  • Positives made from either marks on Acrylic or Tracing Paper
  • Gradients
  • Paper Stencils
  • Test Pieces and Mistakes

Reduction Linocut with Ian Phillips

13th and 14th July 2017

I attended the Reduction Linocut Workshop with Ian Phillips as part of the Print Scholarship and found the workshop to be particularly informative and my skill in lino cut printing vastly improved as a result.

My perception of lino printing has changed as a result of this workshop and I can now see more ways to include lino printing into my art practice. This workshop has inspired me so much that I am now going to work with Reduction Linocut printing for Llawn 100.

The first step of this process was to trace an outline of our drawing that we were using. Two youths playing chess is part of the Mascen Wledig legend, which I am working with for another project. Once the tracing was complete we then used a water resistant carbon paper to transfer the image onto the lino.

Once we had traced the image onto the lino we fixed the lino onto a board prepared for developing the reduction print. using Ternes Burton Registration Pins and Registrating Stripping Tabs so that the paper and lino remain aligned throughout the Reduction Printing process.

Once fixed, we then began to cut away only the parts of the image that needed to appear white ready for printing the first colour.

The process was then repeated removing all that I didn’t want to be the second colour.

And then repeating the process for the final colour.

The experience of this workshop has inspired me to work with Reduction Lino Printing for Llawn 100, an event where you create 100 pieces or do 100 things and upload the result to Instagram with the hastags #Llawn and #Llawn100.

Etching with Don Braisby

1st and 2nd June 2017

I attended a workshop with Don Braisby on Saline Sulphate Etching and Electro Etching. This formed part of the selection process for the Printmaking Scholarship that I had previously applied for.

Don began the workshop by giving us an overview of the Saline Sulphate Etching process and the potential mark making effects that can be gained by using different methods, for example, using hard ground or soft ground, other materials for stop outs such as wax, shellac, permanent marker and Fablon.

He then discussed the recipe for the Saline Solution and the process around the actual etching of your work and showed us some examples of his plates, both aluminium etched with Saline Sulphate and Stainless Steel etched using Electro Etching.

Saline Sulphate Etching

We then began working on aluminium plates of our own, experimenting with mark making to produce plates that had been etched in the Saline Sulphate Solution and that were ready for printing.

The images below show my first effort. I was particularly interested in working with Fablon, probably because I’ve felt I had not great results when I have used Hard and Soft Ground previously. I did also use a permanent marker and this did give me some shading in the piece.

Electro Etching

On the afternoon of the first day we then went on to work with Electro Etching. This is a completely new process to me, one which I was quite nervous of, however we were reassured that the Electro Etching produces finer lines that the Saline Sulphate Etching. This method is something that I would need to spend more time understanding, in particular the science behind the process, so that I might gain a better understanding.

Before working on the Steel Plate we attached a handle to be used in the Electro Etching process. I then worked on my piece of Steel plate preparing it for etching in much the same way as with the Saline Sulphate Etching, this time using both Fablon and Shellace. Then, once ready the plate was placed into an Electro Etching bath. The Workshop Notes cover the Electro Etching process in detail.

Further Experimentation

The next day we were given the opportunity to explore the processes further and produce additional pieces of work. I decided that I would like to practice working with Fablon further and made my next piece, where I started to consider using the etching process to create shade in the image.

My final piece of the workshop, I decided to experiment further with the idea of shade and came up with the following result, the grey part of the etching, I had only etched for a few minutes to create that idea of different shades of colour.

Research

The artists below are recommended by Don regards the Electro Etching Process.

I also went along to Don’s exhibition at Oriel Sycharth Gallery at Glyndwr University which I found to be very inspiring and has given me a lot of food for though moving forwards.

Proof Printmaking Scholarship

The participation in the Printmaking Scholarship at the Regional Print Centre includes:

  • Access to the Workshops available in the Summer Workshop Programme.
  • Access to the Open Access Sessions at the Regional Print Centre
  • Membership of the Regional Print Centre
  • Place at the Print Symposium in February 2018

Summer Workshop Programme 2017

Below is the list of workshops at the Regional Print Centre to be attended during Summer 2017.

Saline sulphate and electro-etching with Don Braisby

See my Blog Post Etching with Don Braisby

Reduction Linocut with Ian Phillips

See my Blog Post Reduction Linocut with Ian Phillips

Experimental Screenprint with Bonnie Craig

See my Blog Post Screen Print with Bonnie Craig

Combination Printing with Greg Fuller

See my Blog Post Combination Printing with Greg Fuller

Artists Books with Estella Scholes

See my Blog Post Artist Books with Estella Scholes

Screenprinting with Tom Frost

See my Blog Post Screen Printing with Tom Frost

Colour Linocut with Nick Morley

See my Blog Post Colour Linocut with Nick Morley

Application for Printmaking Scholarship

Inspired by the recent experience in Printmaking that I have gained during my second year at Coleg Menai, I was excited to discover the Printmaking Scholarship at the Regional Print Centre which I have decided to apply for.

Proof-Web-Banner-English-1

For the application I require a CV, a completed application form and six images of work. The Images I included with the Proof Scholarship Application are shown below:

Links to my CV and completed application form are below:

I also emailed Helen Jones, my Course tutor and Darren Hughes, my Print tutor to ask their permission to provide references, emails shown below:

My response to the questions in the application form are shown below:

Why are you applying for the Proof Programme? (Max 200 words)

As an emerging Fine Artist, my work involves many processes that tend to culminate in the development of Art Installations that incorporate traditional methods with modern techniques, such as printing and sculpture with film making. In the past year, my artwork has evolved significantly using Social, Cultural and Political Themes such as Migration and the Refugee Crisis.

I recently developed an innate love for the techniques and process of print making which has helped me become more inspired about my artwork, and has developed my interest in integrating printmaking further with digital editing and film making.

Recently inspired by the Robert Rauschenberg exhibition, I am keen to develop my printing skills on a larger scale to include layering. I am especially interested in developing this knowledge further by using the photo emulsion technique.

Working with film and installations, I like to push artwork as far as I can and I’ve recently integrated print and photography when I produced a set of gravure prints which I then projected onto cellophane and a pizza base to create some interesting photography – I really enjoyed the experience of integrating the printmaking with digital photography techniques.

What printmaking experience do you have? (Max 200 words)

When attending Denbigh College I had the opportunity to experience Mono Printing as part of the course. This was my first exposure to any printing techniques.

During my first year at Coleg Menai, I then had the opportunity to work again with Mono Printing. I also worked with Acid Etching, I created a Collagraph and completed some Photo Etching (Gravure) and also Lino Prints.

As part of my second year I decided to work solely with one technique to further integrate with the technique, I completed a series of photo etched prints as part of my current Print Module.

In December I attended a one-day Screen Printing workshop with Tara Reid in Denbigh, North Wales.

I recently saw the Robert Rauschenberg exhibition at the Tate Gallery in London.

How will taking part in the Proof programme benefit your artistic practice and career aims? (Max 200 words)

As I move into the third year of my degree, I am considering the integration of video/digital photography with more traditional methods such as printmaking as a subject for my Dissertation.

Taking part in the Proof programme will help me to gain valuable experience that can help me reinforce the principles of traditional printmaking which I then hope to discuss as part of my Dissertation, which ultimately will give me a solid foundation to base my future art practice upon.

A lot of my artwork includes text and I am already experimenting with creating textual prints using traditional printmaking methods that can be used as digital projections. I hope to continue with these processes in the third year of my degree as part of the Negotiated Study modules.

I am hard working and committed individual and hope to work further with printmaking and film as I move into the third year of my degree and into the future as I begin working professionally as a Fine Artist.

Moving forward it is my intention to continue as a practising artist in the North Wales area I am keen to establish mutually beneficial links with a Print Centre at this early stage in my Fine Art career.