During the first week of the second part to the drawing unit, we started by making photographs of material that we already had, from drawings to objects and sculptures. I photocopied my paperclip piece from the third exhibition, which meant carrying the entire piece through the hall ways to the photocopier , which required help as it was quite big. I wish that I had filmed this strange action but it did seem a big similar to the video piece I made for the second exhibition , carrying a paperclip chain through Farnham.
The photocopies turned out to be quite interesting, the paperclips created intricate and complicated patterns. Something that I can use as reference going into the workshops.
Etching Workshop and Outcomes…
Moving on from the photocopies I signed up for the etching workshop. The whole process was very interesting and methodical. The process itself kind of fit with the ideas of sequence,of the second part to the drawing unit. There as lots of steps to remember, you have to clean, buff and sand the plate before you put on either soft or hard ground. If you choose hard ground you have to smoke it. Next you tape the back, to stop the acid eroding the back of the plate. Then you “draw” on the plate, make marks and transfer lines. And finaly you expose the plate to the acid and keep and eye on it until the “lines” take. Then you can print!
Before we did any of that we had to consider what we wanted to “draw” on the plate.
Etching consistes of marks made in lines “mark making” meaning that you cant shade. If you do the acid starts to eat away at the plate and your drawing deforms. Printmaking is very analytical can be broken down. I had to consider when a texture becomes a pattern?
It was importat to think about not only line but tone, texture, shape, colour, layers, compersition (tight/ loose), mark, scale and pattern.
Moving on from my test prints, I liked the progression that came with the printing of ghost prints. So i decided to create multiple prints from the same ink up of the plate, making ghost prints so each print has less and less ink.
What worked? the fading of the ink creates a series. however this is limited by the amount of paper, I could have kept going until the ink ran out. The series creates a clear progression of the image which works well in a line. I thought of a grid but it did not lend itself to a sequence the line make it chronological and easy to read as a series.
What did not? i could have made sure the print was more central to the paper. The image is quite crowded and does not fit that well with the idea of sequence, it is distorted and tangled which makes for an interesting image but does not fit the brief. I should have kept going until there was no ink left only indentations.
What next? More regulation and repetition, which is not really achivable in etching the lines are free hand so not pure/ straight. I want to explore order, repetition and pattern. I could try screen printing or photograms.
The black and white photocopies reminded me of photograms, as I have done the Photography workshop I thought that I would have a go at creating some photograms using everyday ‘stationary’ objects.
Like with the photocopies I started by making photograms of elements of my previous studio work. My studio work at the time revolved around repetition and pattern.
Staring with a section of the chain mail like mesh I made for my third exhibition, the paper clips although when hung the weight of the paperclips mean that the is in a regular formation, when flat on the photogram paper they lack this weight and the pattern is distorted.
I also tried using the paperclip ball I made for the Linear Gallery drawing exhibition, the dense mass means that only the outside paperclips are visible as paperclips. Maybe a longer exposure time to the light would have given more detail. Although interesting this does not really fit with the brief of sequence.
Still with the paper clips I tried laying them out individually in line as a sequence, I really like how this one turned out the repetition fits with the brief of sequence and on a larger scale would make the repetition more eye catching and more of a sequence, going with the idea of the more elements to a pattern makes it less of a coincidence and more obviously an intentional sequence/ pattern. The only thing I want to fix is the regularity of the paperclips, it is quite hard to get them straight in the dark room without any guidelines so I need to figure out a way of making the orientation and the straightness of the paperclips regular.
I also tried, Rubber bands but they were too big to create a series with the limitation of the paper at just under A4. A ruler, the ruler itself is a sequence of lines depicting the cm or inches, the ruler does not fit on the photopaper, and the exposure had to be quite long to get the markings. Could experiment with more rulers and or bigger paper.
I am currenty working with staplesin my studio work, within the individual staple ‘stacks’ there is a series, however in the photogram you can not really see the form of the staples only a white mass.
I had to figure out a way of reproducing the exact same pattern/sequence on each of the four photograms of the series instead of placing the paperclips down on the photopaper individually, I drew a grid on paper under acetate, and stuck the paperclips so they were at the same orientation and spacing using multipurpose glue. I was worried that glue would be visible on the photogram, but with longer exposure time the light went through the opaque glue.
I think that they turned out well, the 360 paperclips work well as a series. I considered displaying the pieces orientated landscape, but I think they worked better this way. Like this the final paperclip that is out of place is not initially noticeable. I did this because it breaks the repetition and the sequence and irritates the viewer, jarring with your expectation of what is to come, something more noticeable when displayed in a downwards line. In this piece I wanted to explore the links with repetition and sequence.