PRINT MAKING
JESSICA WILKINSON
Lino printing was the first area I explored with print making the lino I had bought was too dry so I
found it too difficult to create a complex pattern. Also, since during my first trials I used a 10
cutter, I had to purchase a 1 cutter to define better shapes. Enlarging parts of the pattern from
my drawing module, I used as a tester print. The two tones of colour I find to be boring, plain
and one dimensional, even on backgrounds of colour or texture. On the other hand, the light
blue /white prints that were a representation of moving water look angelic. The simplicity of
these patterns make me want to move forward and onto something with more clarity. Perhaps
an etching would prove more interesting for me although I can’t get the equipment I need
currently
I have already explored lino printing as an introduction to my printmaking. For me its
easiest to jump into things and find my conceptual meaning as I’m working. Moving on
to different aspects of printing I looked at the period of time that had the most vibrant
and varied types of prints. The 1980s ranged from block prints to intricate
interpretations of classical imagery. The reason these prints became so effective around
the time was because the climb of the economy meant there was more money in the
fashion industry. This meant the rise of fabric designers, rather than just fashion
designers alone, concentrating specifically on developing pattern and print. I found that
Marnie Fogg’s book ‘1980S FASHION PRINT” to be helpful in showing the way these
fashion prints were designed.
Contextually my work here began with the words merging and immersing. The idea spun around
colour, texture and he difference between interiors and exteriors mentally. Mainly, the imagery I
had worked on, using water as the exterior, began to form a barrier for new ideas. How can I
turn the words merging and immersing into more than just an image but a message?
Researching Fashion Print Designers, I studied the preparatory work of Helen David who used
the consumer culture of the 1980s to influence her prints. Her focus included the patterns and
figures printed on money, also detailed sketches of the monster sculptures positioned in and
around the Old city of London. Home to brokers and commodity dealers. It was the immersion in
her own culture that led her to break through into the imagery of her designs and patterns.
Studying the anthropological markers of my own modern day culture raises the question ‘what
has become the most important factor of life in the world today?’ For the most part, I feel with
the rise of technology and efficiency; our greatest strength has become communication. From
the business world to discussing current affairs it’s becoming more apparent the communicating
with individuals on mass is not only important but has become a vital and effortless part of our
society. Constructing patterns from technology and other key images associated with
communication. I will form comment on my own being immersed in the 21st century culture.
STENCIL – Screen printing has effectively been used on textiles since the 20th century. Paper or
fabric is placed under the screen and the exposed areas allow the ink to seep through.
IDEAS ASSOCIATED WITH SOCIAL MEDIA – (TWITTER & FACEBOOK) social media has made it
easier for the world to communicate. Now we can reach thousands from home. It’s a powerful to
the centre of our culture.
INTAGLIO – Intaglio is the technique of engraving images into the surface where the area holds
the ink (opposite of the relief point). Best prints use a rolling press to apply high pressure
RELIEF – These patterns would work best with a relief print, primarily woodcut or lino as there is
a strong contrast between colour and line.
LINO & WOODCUT – Both lino and woodcut prints use told to dig into the surface. When ink is
spread over the top using a roller, the relieved parts to leave space to see the paper or material
underneath.
WORKING WTH PATTERNS BASED ON LITERAL COMMUNICATION?