Assignment 1 – Monoprints

The work in Assignment 1 consists of a selection of work from the four projects that made up the coursework for PART 1 Introducing Monoprints.

The work has been selected based on specific criteria. The work along with the selection criteria are listed below in a logical order.

Task 1 (Project 1)

Select monoprints from your first project.

Selection criteria:

• A full range of expressive marks
• Each print should be clear and have clean edges and a good print quality

These should include:

Two early experimental prints (mark making)

Notes and extracts from sketchbooks related to this exercise are here.

Two colour experimental monoprint – A3 sized

First experimental painted monoprint – A3 sized

A printed study from life (two objects in a still life)

Notes and extracts from sketchbooks related to this exercise are here.

Two later experiments

Notes and extracts from sketchbooks related to this print are here.

Painted monoprint – A2 sized

Notes and extracts from sketchbooks related to this print are here.

Landscape 02

Task 2 (Project 2)

Select monoprints from your second project.

Selection criteria:

• Positive and negative shapes are clear and well printed and show visual impact

The second selection should include:

One positive masked monoprint

Notes and extracts from sketchbooks related to the next two prints are here.

A2 positive and negative prints (reversed)

One negative masked monoprint

Negative print – ghost print A3 sized

Task 3 (Project 3)

Select monoprints from your third project.

Key criteria:

• Demonstrate the use of double masking which are well aligned and registered
• Demonstrate a dramatic use of colour contrast
• Use of multi-coloured layers and masks, textures, back drawing and impressed textures
• Explain how you have achieved each effect in your learning log
• Include details of other ideas and experiments

The third selection should include:

Two contrasting masked prints in two colours each exploiting positive and negative shapes

Notes and extracts from sketchbooks related to these prints are here.

Two colour monoprint 02

Three colour monoprint 02

A selection of prints showing experiments in texture and surface detail

Notes and extracts from sketchbooks related to the next two prints are here.

Masked monoprint with found textures 02

Notes and extracts from sketchbooks related to the next three prints are here.

Old Nick – backdrawing on top of a two colour textured background

Punch 01 printed on single coloured background with highlights in white acrylic pen

The Executioner – backdrawing on top of a textured background with white acrylic pen highlights

Back drawn monoprints from life either indoors or outdoors

Notes and extracts from sketchbooks related to the next two prints are here.

Two colour backdrawing, A2 sized

Mexican death mask back drawing, A2 sized

Task 4 (Project 4)

Select four monoprints from your fourth project.

Key criteria:

• Demonstrate the combination of techniques suitable for your chosen contrasting subjects
• Good registration and clean printing technique
• Visual impact
• Good awareness of composition, surface and colour contrast and balance

The fourth selection will include:

Four contrasting monoprints on different subjects demonstrating at least two combined techniques

Notes and extracts from sketchbooks related to this print are here.

Notes and extracts from sketchbooks related to this print are here.

Notes and extracts from sketchbooks related to this print are here.

Self portrait 02 – two colour monoprint

Notes and extracts from sketchbooks related to this print are here.

Personal assessment and reflections

Personal projects completed during this period

As well as doing coursework I also completed other personal projects:

• Life drawing – the work completed between October and November 2017.
• Illustrated information leaflet – a science factsheet in collaboration with a Science Communication student
• Etching – Developing the punch and judy theme explored in the Project 3.

I also visited several exhibitions that were connected to and provided material and inspiration for the course. This included:

• Matisse in the studio
• Degas: A Passion for Perfection

Personal assessment

The following assessment is my judgement of how I’ve performed against the Printmaking 1 Assessment Criteria including observations and areas for improvement

Printmaking 1 Assessment Criteria	My assessment
Demonstration of Technical and Visual Skills – materials, techniques, observational skills, visual awareness, design and compositional skills	I followed the exercises closely and covered all aspects covering different techniques. I decided to use oil-based ink from the start because of the range and intensity of colour and ease of use. I worked at both home and in a print studio (with printing press), and feel comfortable and familiar using the tools and techniques applicable to or that work best in each. Most of my visual development (apart from large scale drawings), was done in sketchbooks; My previous tutor suggested I should do more sketchbook development as this has been one of my goals since PART 4 Style of Illustration 1. I followed many of the steps learned from Illustration 1 in terms of a process driven approach to creating an image.
Quality of Outcome – content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts,communication of ideas	The coursework was experimental and so by it’s nature the quality is variable; some experiments succeeded and some didn’t.  All were valuable and I was able to identify techniques or outcomes that worked for my personal style, such as exploring backdrawing across a number of different prints. I’m careful to present work logically and with appropriate context in both digital, (this Learning Log), or physical portfolios. I think it’s important to demonstrate how ideas develop and I’ve try to provide a sequence of thumbnails and sketches for each print.
Demonstration of Creativity – imagination, experimentation, invention, development of a personal voice	The whole of PART 1 has been about experimentation and trying out new and unfamiliar  tools and techniques. It’s also challenged me to quickly jump from subject to subject and try things quickly and instinctively without getting too precious. I’m not really sure yet what my personal voice is but I think knowing that I want to explore printmaking is part of the process of working out my own style.
Context – reflection, research, critical thinking (learning log)	My reflection, research and critical thinking are all evidenced in this Learning Log. The only thing I haven’t documented successfully yet are exhibition and museum visits. I have started recording these in my sketchbooks and now need to document these in my Learning Log.

Personal reflections

This section contains my reflections on my experience of working through PART 1 Introducing Monoprints.

• I found it quite a shift in approach from Illustration 1 where briefs are much tighter with specific outcomes, audiences and problems to solve.
• I enjoyed not working digitally and developing ideas and thoughts almost solely in sketchbooks. This made me more experimental with materials and techniques.
• Because ideas developed in their own way (as opposed to answering a specific brief), I didn’t necessarily work through the exercises in a chronological order. Some ideas started in one exercise and naturally led to experimenting using techniques and processes from another.
• I found working with a broad range of subjects meant that I only really briefly touched on some images rather than spending time developing and evolving ideas. I think this was fine for the purposes of experimentation.