Research point
Now look at the work of Clare Curtis or Mark Hearld, both contemporary printmakers, and look closely at how their prints are created. What makes them work? Are there any techniques you could re-use? Make notes in your learning log.
I have decided to look at the work of both artists but will concentrate more on Mark Hearld. This is partly because I was able to find more information about this artist and partly because his subject matter includes animals which chimes with my own interests.
I found a video in which the artist talks about his practice. Click here to view "Mark Hearld" an introduction on You Tube
Hearld's subject matter is primarily concerned with the flora and fauna of the British countryside. His work show clear evidence of the influence of mid 20th century artists such as Edward Bawden, Eric Ravilious and John Piper. In the video, we learn that this was further reinforced by his tutors at Glasgow School of Art and the Royal Academy. One of his tutors, John Norris Wood, was taught by Edward Bawden. (1)
I found the artist's use of collage particularly interesting. He enjoys the graphic quality in the use of college and he talks about finding visual equivalents for elements in his composition by chance. He says that working in collage has informed his printmaking because he works in layers and it encourages him to 'think in layers'.. This then becomes useful when combining elements in his lithography. He also has a fascination for objects and talks about placing different objects together as a sort of 3-d collage. He also designs functional objects such as plates and fabric, partly because he likes objects and artefacts and partly because he wants his art to be accessible to those who can't afford to buy a painting or original print.
I am going to concentrate here on his use of linocut by looking at two specific linocuts - I have annotated reproductions of these in my sketchbook:
'Garden Birds' (seen here, reproduced on the art angels website) is made in two colours plus black' plus the white of the paper. It appears to be a multi-plate print although I'm not sure whether it's three plates or two plates with variable inking. The two colours are pale blue and a pale beige which contrast well with the black ink.
The composition is quite busy with lots of detail but it works well. The two birds are the main focal points, in particular their eyes. One is located in the lower and left third of the composition, the other is located at the junction of the upper right third. Secondary focal pints are the eggs in the nest and the house.
Lots of diagonals make for quite a dynamic composition. Reading from the lower left hand corner, the diagonal of the direction of the gaze of the lower bird as well as the branch on which it is standing, move the eye up towards the other bird. The second bird's feet lead to the nest and the eggs and then the curve of the nest leads the eye diagonally back towards the house. The line of the bird's tail leads away into the tree and then back via flying birds and curved lines in the sky round the whole composition to the starting point in the lower left again.
There are several diagonal lines which lead your eye from the lower bird up towards the house. These diagonals serve to create perspective and the relative sizes of the birds and the house create some depth to the composition.
Hearld employs many different kinds of marks to create texture and tonal contrast . there is a good balance of tonal values with the foreground being more black with negative shapes carved out of it for leaves and flowers and the sky being relatively light with black trees in silhouette on the skyline.
"The Rooster', seen here on the St Jude's Prints website is a relatively large print (705x550mm - so larger than A2). It appears to be a two block linocut using a relatively bright blue and black. The composition os almost circular: the eye is drawn all around the print:
The gentle diagonal of the fence draws the eye across . The smaller V of the background fence stops the eye from exiting at the right side and directs you back to the rooster's eye. The rooster's gaze and the elegant curves of his tail feathers bring the eye diagonally up and back towards the left (the curve of the railway carriage's roof also stops your eye from exiting at the upper right hand corner). The arc of a bird's flight and curved lines in the sky further continue the route to the upper left hand corner. From here, the line continues down the stem of the tall plant in the left extremity of the print and the strong curve of the junction between the path and the vegetation swoops the eye back to restart the circle with the fence.
There are many different types of marks here. Tiny short lines represent grass. Curves represent the feathers on the rooster's chest. . Circular gouges represent the stones on the path. Many fine parallel lines add interest and total values In the sky and behind the tall plant. He also plays with positive and negative carving to add interest to the vegetation , the tree and the feathers.
Once again, he uses relative sizes of the rooster to the geese, cat, hen and chicks as well as the shed in the background, to give an impression of depth.
I would very much like to see this work in person because a small image on a computer screen of a large scale work doesn't give the full effect.
My tutor also suggested that I look at the work of Dale Devereux Baker and Scarlette Homeshaw. I will make a separate post about these artists
Now look at the work of Clare Curtis or Mark Hearld, both contemporary printmakers, and look closely at how their prints are created. What makes them work? Are there any techniques you could re-use? Make notes in your learning log.
I have decided to look at the work of both artists but will concentrate more on Mark Hearld. This is partly because I was able to find more information about this artist and partly because his subject matter includes animals which chimes with my own interests.
Mark Hearld
I found a video in which the artist talks about his practice. Click here to view "Mark Hearld" an introduction on You Tube
Hearld's subject matter is primarily concerned with the flora and fauna of the British countryside. His work show clear evidence of the influence of mid 20th century artists such as Edward Bawden, Eric Ravilious and John Piper. In the video, we learn that this was further reinforced by his tutors at Glasgow School of Art and the Royal Academy. One of his tutors, John Norris Wood, was taught by Edward Bawden. (1)
I found the artist's use of collage particularly interesting. He enjoys the graphic quality in the use of college and he talks about finding visual equivalents for elements in his composition by chance. He says that working in collage has informed his printmaking because he works in layers and it encourages him to 'think in layers'.. This then becomes useful when combining elements in his lithography. He also has a fascination for objects and talks about placing different objects together as a sort of 3-d collage. He also designs functional objects such as plates and fabric, partly because he likes objects and artefacts and partly because he wants his art to be accessible to those who can't afford to buy a painting or original print.
I am going to concentrate here on his use of linocut by looking at two specific linocuts - I have annotated reproductions of these in my sketchbook:
'Garden Birds' (seen here, reproduced on the art angels website) is made in two colours plus black' plus the white of the paper. It appears to be a multi-plate print although I'm not sure whether it's three plates or two plates with variable inking. The two colours are pale blue and a pale beige which contrast well with the black ink.
The composition is quite busy with lots of detail but it works well. The two birds are the main focal points, in particular their eyes. One is located in the lower and left third of the composition, the other is located at the junction of the upper right third. Secondary focal pints are the eggs in the nest and the house.
Lots of diagonals make for quite a dynamic composition. Reading from the lower left hand corner, the diagonal of the direction of the gaze of the lower bird as well as the branch on which it is standing, move the eye up towards the other bird. The second bird's feet lead to the nest and the eggs and then the curve of the nest leads the eye diagonally back towards the house. The line of the bird's tail leads away into the tree and then back via flying birds and curved lines in the sky round the whole composition to the starting point in the lower left again.
There are several diagonal lines which lead your eye from the lower bird up towards the house. These diagonals serve to create perspective and the relative sizes of the birds and the house create some depth to the composition.
Hearld employs many different kinds of marks to create texture and tonal contrast . there is a good balance of tonal values with the foreground being more black with negative shapes carved out of it for leaves and flowers and the sky being relatively light with black trees in silhouette on the skyline.
"The Rooster', seen here on the St Jude's Prints website is a relatively large print (705x550mm - so larger than A2). It appears to be a two block linocut using a relatively bright blue and black. The composition os almost circular: the eye is drawn all around the print:
The gentle diagonal of the fence draws the eye across . The smaller V of the background fence stops the eye from exiting at the right side and directs you back to the rooster's eye. The rooster's gaze and the elegant curves of his tail feathers bring the eye diagonally up and back towards the left (the curve of the railway carriage's roof also stops your eye from exiting at the upper right hand corner). The arc of a bird's flight and curved lines in the sky further continue the route to the upper left hand corner. From here, the line continues down the stem of the tall plant in the left extremity of the print and the strong curve of the junction between the path and the vegetation swoops the eye back to restart the circle with the fence.
There are many different types of marks here. Tiny short lines represent grass. Curves represent the feathers on the rooster's chest. . Circular gouges represent the stones on the path. Many fine parallel lines add interest and total values In the sky and behind the tall plant. He also plays with positive and negative carving to add interest to the vegetation , the tree and the feathers.
Once again, he uses relative sizes of the rooster to the geese, cat, hen and chicks as well as the shed in the background, to give an impression of depth.
I would very much like to see this work in person because a small image on a computer screen of a large scale work doesn't give the full effect.
Clare Curtis
Clare Curtis ia a printmaker and illustrator and many of her prints are concerned with horticultural subjects. She uses stylised forms for plants and her compositions and colour schemes appear to be carefully planned. Her colour schemes, even using contrast between complementary colours have a harmony to them and the balance of tonal values is also pleasing.
The combination of stylised horticultural subject matter with the harmonious colours show some similarity with the work of Angie Lewin.
Although both Angie Lewin and Clare Curtis produce work that I am not immediately drawn to (maybe it's the subject matter and the carefully planned decorative nature of them that puts me off I'm not really sure why I don't respond to these as I do to other prints), I can clearly see the expertise involved and appreciate why these artists are so popular. I have made notes on some of Clare's prints in my sketchbook.
There are many techniques I can try to emulate in these printmakers' work. One of the techniques I am particularly keen to try out is using collage to plan my Lino-cuts. I had already considered doing this because I saw the 'Matisse Cut Outs' exhibition at Tate Modern a few years ago and the fact that Matisse used collage to plan his compositions for paintings struck me as a good idea. Composition is something that I struggle with and I also have a tendency to run out of patience with doing lots of thumbnail sketches to try to work it out. Being able to move pre-cut elements about seems like a more flexible and immediate way to proceed. This seems particularly suited to linocut because I can plan colour layers by using papers coloured with gouache or acrylic paint. I am definitely going to try this.
Looking at these artists has made me think more about what the elements of a successful composition may be and also about the importance of achieving a balance of tonal values and colours. This will help me to keep these factors in mind as I move forwards.
There are many techniques I can try to emulate in these printmakers' work. One of the techniques I am particularly keen to try out is using collage to plan my Lino-cuts. I had already considered doing this because I saw the 'Matisse Cut Outs' exhibition at Tate Modern a few years ago and the fact that Matisse used collage to plan his compositions for paintings struck me as a good idea. Composition is something that I struggle with and I also have a tendency to run out of patience with doing lots of thumbnail sketches to try to work it out. Being able to move pre-cut elements about seems like a more flexible and immediate way to proceed. This seems particularly suited to linocut because I can plan colour layers by using papers coloured with gouache or acrylic paint. I am definitely going to try this.
Looking at these artists has made me think more about what the elements of a successful composition may be and also about the importance of achieving a balance of tonal values and colours. This will help me to keep these factors in mind as I move forwards.
My tutor also suggested that I look at the work of Dale Devereux Baker and Scarlette Homeshaw. I will make a separate post about these artists
References:
1. https://www.youtube.com/watch?v=byG6w2qaWnw
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