After After Deco

When producing my recent print After Deco for the mini-print exhibition I had wanted to incorporate an element of collage but didn't due to the time constraints of producing an edition of 60.

So finally I have produced a small series of the print using the rejected prints and the cut outs collected from the laser.

Printed Forms

 

 

First attempts to combine screen-printed pattern with form. I choose to engineer the pattern to fit the faces of the form. The two colours are more effective as they emphasise the three-dimensions. I also explored the use of hand or laser scoring and cutting. Some on-going thoughts:

 

·        How would the forms be viewed?

·        Should the underside also be printed if it is to be viewed?

·        Is it always best to hand score and fold?

·        If using the laser cutter, how can alignment be made easier?

Dedicated Laser Cutter

Just completed a one day course to become a dedicated user of the laser cutters at the University of the West of England. I wanted to do the course partly to gain an understanding and knowledge of the laser cutter software (Ethos) and this would allow me to book in for longer session too with more availability.

To pass the course I had to produce both a raster and vector engrave. I produce the above engrave of Battersea Power Station, on to Somerset Satin 300g, which took approximately 40 minutes.

I used my After Deco design from the mini-print exhibition as a starting point to explore the generation of scan lines to engrave the surface alongside cutting through. I used a piece of 3mm plywood as this design lended itself to a material other than paper. (The limitations of the folded pieces I have been producing is that it limits materials choice.) I used the same direction of engraved lines but altered the distance between them (called the pitch) so that some areas appear solid engrave.

I glued some sections of the cut outs back onto the surface to alter and expand the silhouette.

3D Gallery

I am privilaged to have a collection of my prints in the 3D Gallery, Perry Road, Bristol. http://www.ukattraction.com/west-country/3d-gallery.htm

Mini Print Exhibition

 

My smallest print to date has just gone on show at the UWE Annual miniature print exhibition at Foyles bookshop, Cabot Circus, Bristol. Situated on the 1^st floor, the exhibition is running from 28^th November to 28^th February.

The show is in its 27th year and is designed partly as a print exchange for third year MA Print students but also designed to create an archive for future students to see.

All prints are 20 x 25 cm and cost just £18. The exhibition demonstrates the diversity of processes within printmaking. I chose to combine screen printing with laser and foil to produce my edition (middle row far right!) 

There it is... my print!

Print, laser, fold

Having photographed white paper with repetitive folds I used a section of the photographs to create new repeat patterns. I then printed this pattern onto a length of plain wallpaper (suitable for the scale) before then cutting and folding into the new pattern - confused?!

There were three challenges involved in creating this print:
1. Creating the Illustrator file to follow the pattern
2. How to laser cut from a piece that is larger than the laser and accurately match the cut to the print
3. Folding back the cuts on a large surface

From Sheet to Form

Flattened

Expanded

With the help of an excellent book, (Folding Techniques for Designers by Paul Jackman), I have again been working with plain white paper to explore the idea of form or a manipulated surface. Some of the more complex folds are quite difficult to construct without creasing the paper the wrong way despite having scored the paper first. A thinner paper can be easier to manipulate but is more likely to split when folded along a scored line. Thicker paper is harder to manipulate but will keep its form better and would also take a print.

The best two tips form the book:

1. Use the back of a scapel blade to score

2. How to fold accuratley without measuring - genius!

A digital print folded into a double concertina fold:

Same print expanded to reveal more of the print:

Repetition

Ignoring print for a while to focus on the repetitions of folds using the laser cutter. Taking folds previously used I have simply repeated them over a larger surface area and in some cases altered direction of fold or spacing. The folded semi-circles or triangles I have kept the same scale for now. Working on white paper I enjoyed using sunlight to create shadows which created a new shapes. Bending the paper slightly would change the shape of the shadows across the paper.

Surfacing

Check out the work by current MA Print students including me!

Shezad Dawood at The Exchange

The New Dream Machine Project, is a large-scale kinetic light sculpture, referencing the original Dream Machine, created by Brion Gysin (who was at the centre of the Tangiers counter culture in the 1960s), and conceived to have an effect on the viewer similar to deep sleep or meditation.

I became obsessed with photographing the moving sculpture to capture the different patterns created. To stretch this further I added movement to the camera (through shaking/ circling) to alter the patterns. From one object many new patterns were formed. I wondered...  can I utilise my own work in a similar way to create new ideas?

 

 

 

 



 

 

 

 



 

 

 

Norm 69

Only just discovered this Danish design icon from 1969 -fabulous.

"...flat packed in 69 pieces and requires no tools or glue for assembly. The lamp shade foil is made from safety tested Polypropylene plastic."

Heatherwick Studios

Completely inspired and in ore having visited the Heatherwick Studios exhibition at the V&A. Diversity of concepts, materials and technology applied from bags to buildings. One description of the work read:

"This project reveals how intreaging structures and surfaces can develop through controlled repetition of shapes and patterns."

I would like to be able to apply the same quote to my own work...

Exhibition

Currently on display at Bristol School of Art in South Glousterstershire:



Return to Sender

.I received my 12 postcards from the Iowa State University's 12th Annual postcard exchange. This means that all 13 of mine were successfully delivered and that 12 lucky individuals will be receiving my postcard through there doors about now! 379 people were involved across 8 countries. Out of my 12 postcards one was from Australia and the rest were from various States across the US.

Printing methods included: Digital, Etching, Lino, screen-print, woodcut and litho.

Victoria Reigns (almost!)

Almost finished printing these screen-prints today developed from my recent visit to Victoria Coach station. Difficult to photograph the foil print on this first one.

Waiting to access the laser cutter to finish this one which will remove some of the all over pattern to reveal another colour from behind.

Will try and take some better photographs soon but have been relying on good natural day light of which we have none at the moment!

Enamel

I had the opportunity to try out some new enamelling techniques today working at the Bristol School of Art on Queens Road with the help of Matt Benton. I started by producing a couple of 4cm x 2.5cm samples. The first one, pictured below, layered clear flux with blue-white powder sifted through a stencil before adding a layer of clear powder. I under-fired the blue-white which created a cracked effect when re-fired. A final oval of clear powder was added and under-fired to create a contrast of mat and shiny textures to the surface. My friend and jeweller, Maggie Duncan, later cut the shape out using a  jewellery saw (thank you!).

I then got my hands on a heavy duty hole punch which could cut through the copper plate (with some added force). I found it satisfying to create such a clean cut having explored etching through copper plate a few months back and finding it less precise. I placed the cut discs onto the original plate and re-heated the enamel to attach them.

A further experiment with under-firing the enamel created the texture below.

I played with threading ribbon through the series of holes and found the softness of the material against the hard surface of the enamel a satisfying quality of textures. This mixed with the cut out and relief discs make for a very tactile piece and would lend itself to jewellery.