Assignment 5: tutor report

Having received my tutor report for the assignment I think that I need to give a bit of thought to how to go about making some changes/improvements to my work. I’m going to write about the tutors comments and any subsequent changes I plan on making in a project by project run through.

Project 13: combination mono and linoprint 

In his report my tutor seems pleased with my artist research for the project and some early experimentation into “frottage”. But he feels that there’s room for improvement – and I agree! He says, “Your final prints feel a bit clumsy and don’t live up to the potential of the preliminary work”. He goes on to mention some earlier experimentation namely the print in the photo below:

Print 1/2 - Combination Mono print & Lino print on thin Japanese paper.

Print 1/2 – Combination Mono print & Lino print on thin Japanese paper.

As a combination which “are starting to work”. He pin points part of the problem in saying “the use of the hand painted monoprint feels too generalised against the precision the circles.” Again I agree and can see how that does contribute to the prints clumsy feel but prior to his report would’ve struggle to put words to that feeling!

To help improve the project he suggests “trying some more semi-translucent colours and allowing the circles to slightly overlap or even to overlap some masked mono-printed silhouettes of the house help give the print more definition”.

I think that this project is one I need to take some steps to improve the final prints. I think going back to the point of the print in the photo above is a good place to start. I also want to try the things my tutor has suggested which may involve some more research into mono-printing techniques.

Project 14: Investigating combination printmaking & incorporating chine colle

My tutor is again pleased with the continuation of the theme here and some of the techniques employed. He goes on to say that he feels “that the print has been overwhelmed by the large blue area”.

'Mystery House' print 1 of 4 part series

‘Mystery House’ print 1 of 4 part series

I think at the time of printing I would’ve disagreed with his comment but now feel like (after looking at the prints with fresh eyes) there’s little merit in there being so much blue, in fact it seems a little bold and even lazy!

My tutor suggests the print would’ve “benefited from some more detail being brought into the lino or even using a reduction lino-cutting method in order to introduce other coloured elements to balance out the blue”. Again I agree with this suggestion but couldn’t have put my finger on that being the issue myself!

I think that to help myself re-approach this print I need to go sit across from the house in the print and do some observational drawing/painting. This will help me think about how to incorporate other colours and details into the lino print.

Project 15:

As this project involves four different prints I’ll comment about those individually underneath images of each..

Final Print - painted mono print & back drawing

Final Print – painted mono print & back drawing

In the report my tutor comments on this, saying it “has a vibrant freedom of expression” which I’m pleased with as that’s a feeling I was going for. But he also makes a further suggestion for change, “I feel the back drawing could be more pronounced in order to bring the print together in more robust terms”. He comments more saying, “the back drawn line could have more detail and mark making so as to balance out the gestural nature of the painted monoprint”.

I think he makes a good point in that the back drawing is quite timid and doesn’t really draw the whole thing together very well. However I am nervous about doing the whole thing again as it felt like such a tricky process. I suppose there’s no harm in trying and if it comes out worse I can still use the original print.


Final print - all four stages on Japanese Simili Paper

Final print – all four stages on Japanese Simili Paper

There’s a few comments on this print, firstly that he feels there’s “good clarity to it” and “the registration has worked well”, that’s good news to me! but he notes that he feels I am “cutting too much of the lino away as you (I) go through each stage” and that this is affecting how dynamic the print looks. In all honesty looking back at the print I’m not too sure how I would begin working on it, a few things come to mind like trying a different colour but it would be a lot of work for me to cut that lino again for all the layers.

Second go at rainbow rolling print

Second go at rainbow rolling print

Interestingly the print above is the one my tutor felt was most successful, he says it “conveys a meaning more coherently than the other prints”. I’m really pleased at how the rainbow rolling technique has paid off hear and I don’t think I’ll be making any changes to this print, this one can stay as it is!

Further suggestions:

My tutor also suggested two artists to consider looking into who also worked on the theme of ‘high street’: Chris Orr & Jeremy Deller.

He also mentions a need to “continue to develop a level of enquiry into drawing, materials and techniques…I feel that some more observational drawings would help to inform some of the details that were missing from your linocuts”.

I think this observation is key and one that I hope to take up, I think there’s a definite need for me to get more practised at regular observational drawing.


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