Frottage on clay tiles

I had looked at clay impressions on different textural surfaces and how I could use objects and tools to manipulate the same textures and patterns different surfaces make. I had used dark and nuetral colours such as the browns to capture and highlight the specific details which were made.

If I were to look deeper into the technique I think that I would focus on looking at a much larger piece of clay and creating a collage and large scale piece of work. I could look at how the textures could create the elements and highlight the specific areas possible. 

When looking at all the clay work, my favourite was the brick impression, I'm mainly focusing on the way that I am able to pick up the imperfections of the surfaces and capturing them in a more detailed style and being able to use colours and work other them to expand that detail and element of the tile. I particularly like the way that I am able to focus on the style and the imagery when pressing the clay onto the textures.

In addition, I could also look at the way I am able to use the coloured paints to overlay onto the clay and create refined detail onto the clay which I wouldn't be able to do with clay on its own, I would be able to add engravements and specific work on top of the clay itself. Additionally, I could also add other materials such a wood or wire or even felt to create 3d elements on the work. 

In particular, when looking at the clay, I think that areas of the colour had become much darker as more colour was collected creating a deep shadow and making the clay pop in a way! 

When working with clay you always have to be careful of the dust and the dirt that comes away from the clay when working with it. COSHH highlights specific segments of health and safety regulations that I am working with. To be safe when firing the clay always make sure that it is completely cooled down before removing it as the clay is in the kiln which gets extremely hot. Be very careful when handling clay, do not mess around because in large quantities of it, it becomes very heavy and dries over time when working with it which means that it will be much solid and become a lot solid, stronger and heavier. 

Artist Research

John Piper: John Piper was an English painter, printmaker and designer of stained-glass windows. He is well known for his work in churches and monuments. He was given the title 'Official war artist in World War 2'. We looked at his work with the Coventry Cathedral, this was destroyed by the air raid in world war 2, it was produced the morning after. After looking at the cathedral we looked at the Royal Garrison church which is located in Southsea. This building is more representative with the subject psychogeography as it closer to where we live so we are able to relate it more to the subject as we are able to develop this idea more. The Royal Garrison Church was badly damaged in a 1941 fire-bomb raid in Portsmouth, this is also a church that was damaged in world war 2. This meant that it related more with the work he creates.
Esther coombs
max ernst rubbing/frottage
jennifer williams
kathy erteman
mitch lyons: ceramic mono prints

Typographic Linomaps

Printing Equipment

  

·      It is possible to use both water-based and oil-based inks:

Water-based- is inexpensive but dries quickly

Oil-based- is more costly but produces better quality prints.

·      Lino block

·      Inking surface- Plastic Board

·      Lino cutting tools and cutting block- to ensure safe cutting

·      Roller for inking.

·      Dry roller, spoon, or hand for burnishing.

·      Tracing paper, pencils and marker pens, to transfer the image to the lino

·      Albion press and packing

·      Soap, rags and vegetable oil for cleaning

·      evenly with a fairly thin layer of ink

·      Lay lino block face down onto the paper you are printing onto and burnish using a dry roller

This is my linoprint, we used special cutting tools to make/cut out the areas of the material. In the workshop we looked at the way the surrounding areas in which we live in. I decided to look at the area where I live which is near Portsdown Hill, I also looked at the roads which were around me. I used the church symbol, house symbol and the hospital symbol as this is roughly where I'm located. In addition to this, I had cut out different areas of rough lines to create texture within my piece of linoprint. We looked at the artist Abi Daker. 

These images are her lino cut outs that she uses. I am looking at the way she uses typography within her work which particularly interests me. I had inspiration of her work as she is mostly looking at the way she uses the letters and the way the she uses textures which I particularly like and which I am interested in. Furthermore, I chose to look at Abi Daker and her work as I am able to use her work to progress in my work. 

When taking prints of my work I had used the baron and an albion press which creates different techniques of the print itself. The albion press adds the correct amount of pressure to make the image have more vibrant colour and depth. When using the baron, you have to use your hand which makes it hard to get the right amount of pressure and is hard to realise whether you are rubbing all over the surface to make the press of the lino block correct. 

When using the albion press you have to make sure you do not put your hands onto the press itself as it locks into position to make the press possible also, when using the albion press you need to make sure that you are careful with the handles as they are metal and it is very hard and strong which can cause problems within your safety. 

Health & Safety when cutting lino:

Always cut away from yourself and keep your other non-cutting hand away from the area you are cutting into. 

Health & Safety when printing: 

Protective clothing (an apron) and you may need to wear barrier cream and/or protective gloves to prevent skin contact with the inks or cleaning materials.