After performing the task of editing my prints from project one down to a manageable number, I felt some areas were not as strong as they could be. Following my Ruth Issett research and the Paisley prints that explored colour theory, I decided to consider my tutor Cari’s Pointer for the Next Assignment: ‘As the process in Pt4 gets more 2D, can you use processes from Pt1 to create surface relief or a sense of 3d?’ This became a really inspirational starting point for some new prints. I noticed how pleasing the build up of paint had become on this corrugated surface, it reminded me of the pleating exercise in Part 1.
I used a very simple stencil to overprint baby wipes saved from cleaning the plate and then experimented with pleating techniques explored in Part 1. I found as well as creating a relief surface the image has been distorted. In some ways the samples remind me of Anne Kyyro Quinn’s wall coverings, they share a similar tactile quality that is created by undulations that add depth and shadow.
The alternative to pleating a printed substrate was to first fold the paper or fabric and then print it. I found this quite exciting, realising that actually printing doesn’t have to be done on a flat surface. This could be a good avenue to explore later on.
During Part 1, I had an idea about unfolding shadows, I used this premise to create the pattern below left. The piece is now flat but the mark-making records the shape the paper had when it was pleated. The primary triad was chosen to add a feeling of simplicity that belies the complexity of the idea.
Another useful discovery was that pleated paper makes a really good mark making tool. I revisited the subtractive method learned in 4.1.1, removing paint randomly with the folded paper and printing it over a discarded stencil print. This is so much more bold and dynamic than what I did originally.
I stated at the beginning of Part 4, that I had reservations about layering, I used the more dynamic prints I produced at this stage to really force myself out of my comfort zone. Previously I would have been content to leave the three prints below intact but I decided to cut into them and use them as raised collage surfaces.
The print below left exploits the translucency of abaca tissue, Mod Podge was used to overlay the prints. I decide to include part of the newspaper cutting that inspired the colour choices, the motif pulls the composition together both by its placement and its shape (a sun that the colour and the word ice-cream suggests).
Below right, I used knowledge gained from the Cutting Holes exercise in Part 1 to reveal different parts of the composition at different heights (although this can’t really be appreciated in the photograph).
Finally, inspired by the Crumpling technique from Part 1, I tried printing with Brusho. I applied the dye to a crumpled sheet of tracing paper that I used as a printing plate. Brusho produced totally different effects to acrylic or ink, much softer and more organic.
I used damp paper to lift the Brusho, an interesting discovery was that adding washing up liquid changed the way the dye dispersed. At the moment I am not sure what to do with these sheets, I think they would be great for Back Printing or for collage.
In conclusion, I feel happier about the work produced for Project One. Exploring the three-dimensional potential of printing forced me to look back on work produced in Part 1 in a totally new light. It gave those early exercises a sense of purpose that I think I missed as I worked through them. I also think I have been a lot more confident in my ability to collage, which will be useful as I progress to Collatype Printing in Project Two.