Assignment 2: In the style of …


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ASSIGNMENT 2  In the Style of…
Assignment 2 has been set to demonstrate your understanding of
interpreting style and using this to influence your work.

There is a long tradition of artists and printmakers paying homage to past
masters and using their style to learn from and to influence their own work.
Visit a library, art gallery or use the internet to find an artist or period of art
whose distinct style you like or wish to use as inspiration. Please choose a
great ‘master’ – an artist who is familiar to most people such as Van Gogh,
Turner, Munch, Matisse, Picassso etc or a style that is very recognisable such
as pop art or expressionism.
Take time to gather your research and make a series of sketches and
preliminary ideas using sketchbooks or idea sheets. Investigate the issues
that the master deals with in his work and the subject matter they choose.
Carry out several studies by simply copying their work.
Look at the distinct style that they use – is there large flat areas of colour or
a way that marks are made. Try to recreate these types of marks and shapes
in your studies.
From your studies complete and submit for assessment the following work:
• A simple woodcut study
• A simple linocut study
• A reduction print
• A key block multiple plate print (at least 3 colours)
• A small 50-100 word statement about why you chose that past
master to study and why they inspired you. Pick out the key stylistic
feature that you chose to then use in your own work.
Please make sure that at least one of your prints is a direct copy of one of
the artists work and one is a print of your own subject matter but using their
style. This assignment must demonstrate your understanding of relief
printing plus how to interpret an individual style.
NOTE: Please make sure that all work is editioned, titled and printed on good
quality printing paper.

My comments on this project, October 2017.

I chose for this project my favourite American painter, Edward Hopper. 

I have now been printing on this course since February and I have created about 20 prints in all.  I’ve learned which paper is good to use, how to roll up ink, which ink is best, tried various types of paper from Paperchase, Cass Art and Intaglio.  How to use a baren again for printing, as well as trying out Japanese handmade long fibre papers from Intaglio.

July 2017:  I have made another try at Hopper’s image: Words and Silence, the image with the house and the wilderness, with more accurate drawing of the house and different ways of rendering the grass and the sky.  The block is cut into three pieces: the building and base, the grass and the sky.  The grass was in the second printing brushed on and will have a beige colour added in the final printing.  The sky will have a gradient colour from dark blue to pale blue/white.

This sky printing did not work – it looks like a flat area and not what I wanted at all I will need to do some monoprinting of coulds and dark areas on top of the colours.  In the final image the grass does not work either.  I will have to leave this print as it is for now

So what have I learned from this printing?  Lots!  Firstly that you can mix methods on lino as I did some monoprinting with this print which I haven’t done before.  Gradients don’t mix with textural lino prints they do work with screenprints which require flat colours.

  • Do a better more accurate drawing on the lino
  • have a much larger covered area for working
  • buy a proper stone to sharpen your tools regularly
  • keep everything spotless especially the tools and paperand clean all stains with oil and soap
  • Spend longer between printings to work out exactly what you want
  • Maybe be more experimental in the first printing which is a trial and which leads to a second printing
  • mix methods, in this print I did some monoprinting on the grass and patio which work nicely for textured layers
  • Don’t be afraid to play around but when you HAVE decided on a final print be accurate and all of the above elements.

May 2017: The first lino print one was Cafeteria and is a reduction lino print with two colours only pale and mid grey, it is a representation of a Hopper painting that had two figures inside.

The second one is a street scene: Early Sunday Morning.  I love the way the light hits the street in the painting – it’s not so easy to do this with a two colour lino print!  However I think it does in some way evoke an early morning with some sunlight.

  1.  Cafeteria

2.  Early Sunday Morning: Reduction lino print

In this street scene lino print I used a different lino which I find much better and less grainy it’s grey and more impacted and less soft, however you need to have sharp tools.  I need to get some new tools and learn how to sharpen them.

I like the tones in this one – the white I used is Caligo and much better than the one I got from Cornelissons which is very runny.

Cafeteria printing :

This is the first printing – a mid grey. I had to remove the pen lines which marked the image and had problems trying to assess where to cut the second layer – I’ll have to rethink how to transfer an image to lino that stays.

I have since used less pen marks on my lino and worked much more in detail with the tools from the actual master image – this works much better.



The 3rd printing stage for this first attempt at this image and the final one – I didn’t use black on this one, just dark grey

The lino is soft and white – it’s quite grainy but nice to cut.  The paper is a rag paper cheap from Cass Art – I won’t be using it again as it expands with the inks and buckles.  I need to find a better paper, with size that is lightweight and doesn’t expand.  This is a reduction lino print and the next colour will be dark grey and finally black.

Paper:  I discarded the rag paper from the first block as it was useless, it expanded badly and lost shape and used A3 paper from a cartridge sketchbook, a smooth sized paper, 120 gsm – perfect!  and nice results and I managed to keep the registration intact too.