Dry point etching.

Etching is a form of printmaking where engraved parts in a surface are used to create a desired image. Etching used to be used by goldsmiths to decorate items such as guns, armour, cups and plates. It is now used mainly for just art.
Method:

• Firstly get an etching plate and tool.
• Use the etching tool to scratch your desired image into the plate making sure the indents are deep enough to hold the ink.
• When the plate is finished you use etching ink to work into the grooves with scrim.
• Wipe the excess ink off using tissue paper.
• Soak a piece of watercolour paper in water and then place this between 2 other pieces of dry paper just to get off the excess water.
• Place this piece of paper onto the printing press with the etching plate on the top, scratched side down.
• Put through the printing press and the image should be revealed.

These are examples showing the method of etching.

Batik.

Batik is a method of wax-resist dyeing which has been used for many centuries dating back to the 4th century BC. It is used to create patterns and shapes of a piece of fabric. Too create these patterns and shapes you use a instrument called a 'canting'. The tradition of batik is used in many countries such as Algeria, China, India, Malaysia, Philippines and Sri Lanka.
Method:

• Firstly heat up the wax.
• When the wax is heated up use the 'canting' tool to draw your desired image, pattern or shape on the piece of fabric.
• When the wax is dry you then use batik dyes to paint over the top of the wax.
• When the ink is dry you then use a hot iron to melt the wax off and you are left with white spaces where the wax was.

 These are examples of batik.

 These are my samples that I created using batik. I had to link them to my chosen theme of nature.

Different painting techniques.

 This is a colour mixing exercise that I had to do. To do this I first started with all the primary colours; red, blue and yellow. I then mixed a small amount of all the colours together to create a starting point. I gradually kept adding amounts of the primary colours to create a range of different colours. Doing this is helpful because it gives you the skill to create realistic paintings as these colours help create highlights and shades.

Colour mixing relates to the work of David Hockney. As you can see in his work he uses a range of different tones of colours. Although his pieces seem more cartoon like because of the vibrant colours he uses the same method still applies.


These are examples of mark making. I tried to use as many different marks as I could while thinking about the composition and the colours.

My mark making samples link to the work of Fiona Rae. As you can see she uses a range of different marks, they all overlap and interact with each other. Her paintings are very abstract and animated with the images she uses. The colours she uses all contrast and stand out against each other. In a lot of her work she repeats the mark of dripping paint down the page. In my work I have tried to use similar marks and colours.

This is a piece I made experimenting the technique of painting with palette knives.

 

These are examples of the work of Nicolas de Stael. As you can see his work is very abstract. To create his pieces he uses simple blocks of colours in a variety of thin and thick layers, this is because he uses a palette knife which makes it more difficult to create realistic images as it is hard to blend the colours together and create intricate detail. I have used the same technique as to what he uses, just using blocks of colours to create an image.  

 

3D workshop- slump/hump mold.

Hump/slump molds help with creating multiple bowls all the same size.

The process:

To create a slump mold you get a lump of terracotta clay and shape it into the desired format you would like your bowls to look like. You place this lump of clay onto a wooden board and using more clay you place a piece of lino around this board making sure it is attached securely to prevent leaks. Mix up some plaster, the amount depends of the size of the piece of clay. Pour this plaster over your mold and leave to dry for roughly 30 minutes. 

When the plaster is dry you remove the lino from around the outside and turn it up the right way. You then remove the clay for the mold so you are left with empty mold.


When working with clay you have to consider 'COSHH' which is control of substances hazardous to health. The main hazard when working with clay is crystalline silica which is dust. Breathing in to much of this can cause silicosis which is a disease of the lungs. The hazards of this can be minimized by;

• Wearing a mask.
• Keeping exposure as low as possible by working away from others, using slurry bins, covering tables when working and washing surfaces, tools and equipment.
• Having a well ventilated room.

This is the form used to create the mould.

It is then placed onto a board with lino around ready for the plaster. 

This is the piece when the plaster is poured over the form.

This is the piece when the plaster has dried and lino is removed.

Pinch pots.

To create an open form pinch pot you simply get a lump of clay, place your thumb in the middle and press it down quite firmly. You then pinch around the edges of the clay until you get the required form. You can create many different forms such a bowl like one, one with a wave like effect around the edge, you can even add extra pieces of clay onto them so they look like a vase like form as you can see in the image below. To do this you get a piece of clay and roll it into a coil shape, you then add this to the already existing pot using slurry. Using your fingers smooth this onto the pot and using the same method as before, pinch this piece until you are happy with the shape. 

Health and safety:
When working with clay you should be aware of the dust of the clay, the technical name for this is 'silica'. So when working with clay you should:
1. Use a damp sponge or cloth when cleaning surfaces, never a dry brush.
2.Never shake aprons or rolling out cloths.
3.Only work with dry clay in a well ventilated area.
4. Wash aprons and overalls regularly.
5. Spillages of dry materials should be vacuumed up and not washed or wiped.                                       

 To create a closed form pinch pot you start off by using the same method as you would to create an open one. You get a piece of clay and create 2 open form pinch pots, using slurry you then attach them together. You can then mold it to any shape you want. You can then add pattern or texture to the piece. Do this by using slurry to add your desired shapes to the piece.  

My open form pinch pots relate to the work of Priscilla Mouritzen and Jane Jermyn. As you can see I have used similar shapes as to what they use in their work. I have used the same bowl like shape to what Mouritzen does, and the closed pod like shape to what Jermyn uses. I could have made my work more similar to theirs by adding texture and colour to my pieces.

 

 

 My closed form pinch pots relate to the work of Pamela Sunday and Eva Zethraeus. As you can see they used different additions to add texture to their pieces and make them look more abstract. I have tried to add similar shapes to my pieces.

Felt making.

Felt making:
Equipment list:

• Bubble wrap.
• Felt fibres.
• Soap and water.
• Bamboo mat.
• Netting.

The process:
To create a piece of felt you first choose the colours you wish to use. You start by layering the pieces of felt onto the bubble wrap bubble side up in your desired pattern. You lay down the felt going horizontal, the next layer then needs to be placed on vertically and so on until there is at least 4-5 layers. Lay the netting over the felt and sprinkle some water over it, then using soap you gently rub the felt using circular motions. Turn the piece of felt over and do the same to the back of the piece. Place the piece in the bamboo mat and roll it until it shrinks to your preferred size. Rinse the piece off under water and leave to dry.

This is what it looks like when the layers have been placed on the bubble wrap before using soap and water.

This is what the piece looks like when it has started to transform after using soap and water.                                           

This is what it looks like after being put through the bamboo mat a couple of times.

 

My work links to the work of Mary Clare Buckle and Moy Mackay whose work is shown above. As you can see they both have different styles of working. Mary Clare Buckle goes for a more abstract effect just using blocks of colour as a background and then working into them using different lines and patterns. She also creates small holes so she can place lights behind the piece which then shines through the holes, which then makes the piece more luminescent. Moy Mackay creates more realistic pieces taking inspiration from her surroundings from her home in the Scottish Borders. She works into her pieces using stitch

















                                                                    

Studio lighting health and safety.

• Do not touch the bulbs at any time, especially after use as they get very hot. 
• Do not knock the bulbs when fixing light accessories to the unit, as this will make them fragile.
• Do not put the protective plastic cap over the bulbs until they have cooled. Leave the light accessory in place until ready.
• Do not leave the lights on when not in use.

In the studio:

• Leads should be kept tidy and either taped to the floor or covered with rubber mats.
• Do not leave coats and bags on the floor.
• Do not set your equipment up by a door way or in front of a fire exit.
• Act professionally when working with expensive studio equipment.  

Sewing machine health and safety.

• Keep hands away from the needle.
• Keep the room tidy, pick up any materials.
• Take extra care when using the machine.
• Take your time.
• Make sure the machine is set up properly.
• Don't hold pins in your mouth.
• Make sure the machine is not live when threading.

Pallant House Gallery trip.

These are photos of pieces of work that I liked the style of when visiting the Pallant House Gallery. We went here for sources of inspiration for my own work. I thought that some of the pieces were unusual and they used unusual materials and I liked other pieces because they used a lot of detail and stood out.

Collagraph Workshop.

To create a collagraph you need a strong cardboard plate to work on as this will not go soggy when using the glue.

•  Glue your chosen items onto the cardboard plate using PVA glue, thinking about the composition and different textures.
• Allow that to dry and then apply 2-3 layers of shellac to the plate.
• To produce a print you ink up your plate using small amounts of ink and working it into the collagraph in a circular motion using scrim. Use tissue paper just t go over it and take off the excess ink.
• To print you lay the collagraph on the printing press face up. You then get a damp piece of watercolour paper and lay that over the collagraph, cover with the felt blankets and roll the collagraph through the press.

Health and safety:

• Keep working area clean.
• Wear protective clothing.
• Keep the room ventilated.

Materials used:

• Patterned wallpaper.
• Fruit packaging.
• Wire mesh.

My work links to the work of Barbara Rae. I have used the same technique as to what she uses with the collagraphs. I have used similar shapes as to what she uses. Barbara Rae's work is strongly influenced by landscapes and her travels. In her work she incorporates different types of printing including monoprints, screenprints and etchings, she uses these to create a variety of different textures, patterns and shapes.         

                

This piece is called Harbour Night. This piece is an collagraph with an etching incorporated into it. The etching is very simple just using straight lines in a hatched effect however it still stands out against the other areas of the piece. As you can see the theme of the title connects with the theme of the colours used,  there is a contrast between the bright yellows and vibrant purples and the more deeper purples in the bottom corners of the piece, these colours create a eerie mood. Knowing the title of the piece you can pick out shapes that relate to it, the block like shapes look like the front of a boat or it could represent a harbour wall.  

This piece is called Moy Traveller. I think that this piece is different to the rest of her work because she has used a different range of colours and an she has incorporated an image as well and using shapes. The colours she has used in this piece are more neutral and are not as vibrant as other colours she uses. The way the paint looks almost chipped, I think that this gives the piece a vintage effect.  

This piece is called Achill Fence.