Assignment 2: In the style of …

In the style of … I have chosen for this assignment my favourite American painter, Edward Hopper and his street scenes and landscapes.

July 2017:  Another try at Words and Silence, more accurate drawing of the house and different ways of rendering the grass and the sky.

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Just the patio to do, I’ve done the grasses but it’s not great…

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2nd attempt:  the house is finished and probably the sky

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First two colours: pale and mid grey

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First printing: pale grey

June 2017:  Words and Silence – my homage to Hopper’s painting as a lino print.  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.

The first printing was pale grey, the second is a darker grey and probably too dark.  The marks on the grass were made on a blank lino block using a brush to give some texture.

The third printing will include some colour in the grass, a coloured sky and dark windows in the building

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first printing is pale grey

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the second printing was dark grey with some detail in the grass

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3rd printing: black and some textures on the patio

The next printing on the above image will be the grass and the sky, the former will be beige/tan streaks with a dark horizon and the sky will be a mid greeny blue to very pale greeny blue

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.

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.

  • a)  Do a better more accurate drawing on the lino
  • b)  have a much larger covered area for working
  • c)  keep everything spotless especially the tools and paperand clean all stains with oil and soap
  • d) Spend longer between printings to work out exactly what you want
  • e)  Maybe be more experimental in the first printing which is a trial and which leads to a second printing
  • f) 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.

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May 2017: The first lino print one is 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.

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second-grey

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.