Part 3. Exercise 4.

One of the common errors I see I have made during exercises 2 and 3 is the similarity of mark making.  Whilst I may have used the wiping techniques and applied the ink in different ways, I do not have enough contrast in the pieces.  There isn’t a huge distinction between the background, foreground, tone,…

Part 3. Exercise 3

My intention with this exercise was to experiment with producing different textures and marks when removing ink.  I began by covering the plate in ink with a roller and removed the ink using rags, scrim, dry brushes, cotton buds and zest-it. I then tried applying ink in different ways, in different strengths and combined it…

Part 5 written project ideas

  I intend to write about oil painting for my essay in Part 5. This choice has been inspired by my research into artists such as Cathy Lomax, Annabel Dover, Eleanor Moreton (Absent Friends) and their use of thinned oil paints.  It also, therefore, connects into my work for part 3 and the mono prints…

Part 3. Exercise 2.

  For this exercise I have taken the 5 prints I was most happy with from exercise 1 (see below) and worked from those and from the photograph. What I am aiming for is the abstraction of form and the use of loose colour to create texture and movement. I am thinking Alli Sharma, Cathy Lomax,…

Part 3. Exercise 1

  Having already done the part 3 exercises whilst working on part 2 I am now revisiting them all with hopefully a different level of insight. I decided not to repeat making 20 quick ink self portraits.  When I use ink it has an eerie, disturbing quality so I wanted a different approach.  If I…

Part 2 and Part 3 in Parallel

Addendum to this post – I have now reached the end of part 2. On reflection it is clear now that my part 3 work has been a crucial part of the process in shifting my habitual way of working.  I now, therefore, see the exercises simply as extra preparatory work/sketchbook work rather than coursework to submit…