Photographic Image Transfer

Today I have been experimenting with a photographic image transfer process, whereby acetone is applied to the back of a photograph, which is then run through the etching press so that the ink transfers. Through working with this process I have learnt that it is important to work quickly and efficiently, otherwise the images can become stuck together. Also, when the image is transferred, some of the quality of the image is lost, leaving a mottled and distressed appearance. However, the loss in quality in the transfer of the image, combined with the added textures of the paper abstract the image, reinforcing my concept that beauty can be found when sought. 

Direct Photographic Transfer 

Two Images Layered and Transferred

Imaged increased by 400% with a wash of colour to draw some textures forward. 

Development of Drypoint

Following on from my experimentation with my drypoint plate, layering it onto several prepared backgrounds, and still not managing to achieve the abstract and patterned appearance that I had aimed for. I have developed a second drypoint plate, working again from my photographic imaged, I have selected a very small section, which I then enlarged on the photocopier by 400%. I have transferred this onto the aluminium plate. I am hoping that the print outcomes are or a much more abstract nature thus allowing the viewer to focus more on the lines, tones, and textures of the images, as opposed to the contextualisation of the subject matter, with the ambition of provoking an awareness to the possible beauty in the everyday. 

Completion of Utopia Assignment

As a requirement of the contextual studies element of this brief I have completed an essay around the subject of Utopia. Throughout this essay I have referred closely to my current studio developments and aesthetic theory, studying the works of Immanuel Kant, and Plato, in addition to teachings of Clive Bell and many more. It has been the teachings of Plato that have had the most significant impact on the development of practical work, as it was Plato that said: 

'Divine beauty shines through everything and is loved in everything'

Supporting the underpinning concept of my project, that beauty can be found even in the mundane and everyday.

Combination of Mono Screen Print Backgrounds and Drypoint Prints

Mono screen prints have been prepared as backgrounds for the drypoint to be printed over the top. Elements of the same digital photographs that were used to compose the drypoint drawing, have been simplified. 

Mono Screen Print Combined with Drypoint

Mono Screen Print

However there is a concern that the technical capabilities of layering the two prints together might cause  some problems, as the mono screen prints are created using water based inks, which may run when the paper is soaked for the etching process. 

The inks did bleed slightly when put in to soak, however I think that this only added to the layering and texture of the final print outcome. Despite this I think that there is still some development to be made with these drypoint prints, as they need abstracting further, focusing only on on the line and tones. 

It is intended to return back to the original digital prints and observational drawings that were taken on my visit to Dover in attempt to rediscover and unveil the hidden beauty that I originally observed in the town. 

Etching Press with Mono Screen Prints

Regeneration of Dover

It is important to highlight the reasons for choosing Dover as the location for my investigation throughout this project. Firstly, it is a town that has great historical importance to the country, in addition to being a place that I have a strong personal connection to, as it is a town that I have visited daily since secondary school. Dover gives a tired and worn first impression when observed from a surface glance. 

However, there are many new regeneration plans for Dover, which include a redevelopment of the social, residential, retail, communication, and transportation facilities. It will take many years for this entire redevelopment to take place, so through my artwork it is aimed that the community begin to appreciate the town for it's already present beauty, reinstating a sense of pride and respect that has been lost within the population. This project will explore this beauty from macro level observations of surface and texture, making the invisible, visible. 

Click Here to Watch a Video: A vision of the redevelopment of Dover

Development of Drypoint

Using sections of photographs cut from a view finder and enlarged I have drawn into an aluminium dry point plate, overlapping elements of different images, enlarging them and layering them, to abstract them, with the intention of creating a confusion to the viewer when initially observed, forcing the viewer to search deeper in tot he image to untangle the layers and sections of the prints. 

Drypoint Plate 

I then ran a couple of prints through the press, however, there was a blankness and simplicity to the prints, and the initial layering and confusion that I had aspired for through the prints was lacking. I think that to achieve this, I should combine the same roughness and bold statement that the collograph creates intertwined with the delicate lines and details of the drypoint. I think that this could be achieved by preparing mono screen print backgrounds for the drypoint to be reprinted over the top. 

Printing of Collograph Plate- Blind Emboss and Relief Print

I began with a 'Blind Emboss' of the collograoh plate, as I thought that it would remove any preconceived contextualisations, as there would be no link to colour, or place. The emboss focused only on highlighting texture as it created a silhouette of each component of the plate. Its subtle lines and tones that are sunken into the fibbers of the paper making the viewer search deep into the image in order to decipher its abstracted forms. 

Blind Emboss Collograph Plate 

To develop this further, a relief print was taken from the collograph plate. The ink drew focus to even more textures within the plate, capturing the subtle lines and marks imprinted onto the cardboard. However, from here I would now like to develop the concept of capturing these hidden subtleties through a more refined print method. I intend to use my photographs from my visit to Dover to draw into a aluminium drypoint plate. 

Collograph Plate

Relief Print of Collograph Plate

Developing from Print

Developing on from the transformative process of the collograph plate, where found objects were collected then reorganised onto a plate. However, today I have reconsidered this, thinking about the idea of taking objects as they are and aspects of the environment as they are without being changed, as the concept behind the project is about an appreciation of the beauty that already exists.

Studying the Boyle Family and their resin casts of specific grid references and sites all over the world, and their 3D representations of mundane surfaces. It is the Boyle family's truth to the environment that I admire, not excluding any environment as a potential subject. The Boyle family refer to this as 'motiveless appraisal' seeing themselves not as creaters but presenters. 

Click here to view Boyle Family Website