Digital Graphics Basics Tutorials and Finishing 'Loss of Balance' Project

Since I last posted about the Digital Graphics Basics unit, I have developed a series of works mainly based on subject matters that feature trees. As springtime has bloomed in Poland, I have enjoyed photographing a variety of different types of trees in various environments both urban and rural. I have then developed a series of edits in Photoshop, experimenting with effects and filters to create bold works that relate to both my theme and observations I have made of various places in Poland.

As the project has developed, my final outcomes have become more abstract and therefore could be considered as fitting the theme of 'loss of balance' better because they are less about the subject matter and more about the surface and textural elements that are conveyed.

Around a week after I had created my first few graphics, I was told to get them printed out A4 size at the local print shop, Rappid. It only cost 8 zloty for 3 prints (£1.67 each). The print quality was of a very high standard and the matte paper suited the subject matter of my graphics well. I then added some hand drawing on top of my 2 chosen prints using marker and gel pens. I initially thought this seemed like a slightly strange idea when my tutor, Marta suggested it because I thought the class was focused on creating digital graphics. However, I understand the importance of experimentation and I was glad to be encouraged to introduce other mediums into my work as I enjoy working using mixed media. Other processes I could consider is the addition of paint or intaglio printmaking techniques such as etching and serigraphy.

One of my A4 prints - not included in my final digital graphic series

Marta thought the original tree graphics I created were amazing and I think this is why she suggested I use marker pen on top, she has very good knowledge of what will work and what will not. She is also expert in using Photoshop, she showed me some new tools I could experiment with in the development of my 'loss of balance' project such as using the multiply effect. She suggested I create a cycle of graphics. I decided the tree graphics I had created were my strongest images so far so I decided not to develop the other graphic examples I had created at the beginning of the project any further because I didn't feel that they fitted in with the theme as well.

I'm pleased with how my two A4 prints have turned out with the addition of hand drawing on top. Gold gel pen works particularly well in the first print, making each branch of the bushes and trees stand out. The second print has less obvious hand drawing because I used a black pen but the trees are more emphasised with these additional marks.

Loss of Balance Trees 1 - Katowice Vista

Loss of Balance Trees 2 - Bytom off Balance 

My third print in the series is slightly different to my first two prints. It is more atmospheric because I took the original photograph in Kosciuszko Park, situated near my dorm. The colour palette is softer and I plan to get it printed A4 size again but I won't add hand drawing on top because I think the print is successful as it is. The print has quite a magical feel about it and I like the contrast between monochrome and cool colour palettes. I added darker tones to the blue leaves and made the stems and branches yellow to pop in a warmer colour element. The original photograph has been inverted and I experimented with effects such as exposure and saturation.

Loss of Balance Trees 3 - Kosciuszko Park Wanderings

My fourth print shows I have progressed quite far in terms of style from my first print. I have developed into abstraction, creating a highly edited photograph of a tree with many branches. Line is the dominant visual element within the print. I photographed a thick tree trunk and rotated the photograph. I edited in Photoshop, initially inverting the original photo but this made it too dark so I added the yellow background. I multiplied branch elements so that the whole background was covered with line. I blended the trunk colour so that it matched well with the branches. 

I am pleased with this print, it is very different to anything I have ever produced digitally before and I like the boldness of the line and the relationship between green and yellow, it has a lovely naturalistic quality. I intend to get this work printed B1 size to compliment my smaller prints but also show a progression from representation to abstraction styles.

Loss of Balance Trees 4 - Park Abstraction 

Marta gave me an advice sheet with her feedback on the work I had produced so far. She wrote,

'I have a suggestion for you.

Try a larger synthesis based on the graphics already made.

For example, you can isolate a tree from the background.

You can interfere with a given element, change its form, multiply it.

Then make abstract graphics using this element.

It is (it aims to) to unrealise the presented object, in order to give the recipient more room for interpretation and stimulate the imagination.'

I followed her advice for my fourth print in the series, above. I also did some other experiments exploring abstraction and isolating some elements of graphics I had already made.

Forest Contrast

This graphic explores the contrast between bold and faded images. I think it is quite interesting to see how using different filters affects the quality of the image but I think I needed to ensure that the images blended in to each other a little better here as it is fairly obvious that the images look separate. I could have used a larger element to begin with and then selected and edited parts of the image.

Kosciuszko Park Haze 

For this graphic, I experimented with the trace contour filter. I like the fact that image is faded, it adds an element of mystery for the viewer. I think the multi-colours work well together. I isolated an element of my Loss of Balance Trees 3 - Kosciuszko Park Wanderings print. 

Blossom Springtime 

This graphic uses a different photograph, not taken from a graphic I created previously. I have a love for blossom trees and enjoy photographing them. I used the trace contour filter again, as experimented with in the image above, focusing on a green colour palette. I think it reflects springtime in the city of Katowice well, it becomes very green and leafy. I think this image may be more successful if the blossom was more emphasised so I would experiment with this if I was to develop this image further. 

To conclude, I have really enjoyed this first project. This class is not something that is taught at UCA and it has changed my illustration practice in ways I hadn't thought about before. I have an aim of working digitally more regularly and the realisation of being able to use hand drawing incorporated with digital print successfully has made me want to explore the process more as I move into my third year of study at UCA. I will now move on to a theme of my choice and create a new series of digital graphics based around my chosen theme.

Intaglio Printmaking - Completing the Process

In a previous blog post (2nd March 2018) I reflected on the introduction I was given to the Intaglio printmaking process. Marcin, the Intaglio professor who can speak English, showed us how to prepare the plate and gave an explanation of the three techniques - etching, aquatint and drypoint.

The stage I got to in my last post - varnishing the plate ready to be drawn onto using a sharp needle

Preparing the Image on the Plate 
Once I had finished preparing the plate before drawing into it, I covered the back with duct tape to ensure it wouldn't get scratched or stuck to any surfaces through the next stages of the process. Then, I went on to produce the first layer etching on my plate referencing a drawing I had prepared. I chose a pen sketch I had created of the doorway of St. Mary's Church, Katowice. This religious building is an important part of Katowice's classical architecture, it is situated at the end of the famous 'Mariacka street'. It is actually one of the first buildings I came across when I had a look online at images of Katowice before I came to study abroad. I decided to draw this image because I have an interest in decorative doorways of buildings and I like the cultural history behind the architecture.

As I mentioned in my previous Intaglio printing post, I also thought I would link the final prints to my 'Simulacra' project, set by the Interdisciplinary Actions class but as I developed that project I decided the religious doorway intaglio print didn't really fit in with my chosen theme of 'Time' anymore. I am keeping the first images as test prints. The prints relate to the culture of Katowice so they do have a visual purpose in that sense.

My original pen drawing 

I used a sharp needle to draw the first layer, making sure I only scratched the surface to create a thin line because it is not necessary to make big dents with the needle. The etching process involves creating a light to a dark line, so I thought about the fact that the first layer would have the lightest line in the final print. I ensured the lines were separate, an important factor we were told to stick to. Once the first layer sketch on the zinc plate had been created, I put the plate into an acid bath to soak for about 10 minutes. The plate is then rinsed/cleaned with water. I repeated this process for two more layers of drawing. The image developed from a simple to a precise line drawing.

Simplifying my drawing for the first layer 

Beginning incision into zinc plate 

The sharp needle I use to draw into the metal 

First layer - ready to be soaked in the acid bath

The bath of acid was fairly weak as it is mixed with water. Health and safety is highly considered, we have to be very careful when placing the plate down in the bath and picking it back up to ensure the acid does not splash into eyes. I left my plate for 20 minutes for the first layer, I left the second layer for 15 minutes and the third layer for 10 minutes. At this stage, I discussed my drawing with the professor. He said he thought it would work well with a mixture of etching and aquatint printing. He said in future, I could change the composition slightly by moving the doorway down so that it isn't coming off the page and adding line to the foreground. This would help to create more depth and I could also make the image bigger. I intend to work larger for my next print.

Etching - Preparing and Printing the Image 

The next session began with preparing the plate for printing. This involved washing and removing the varnish from the plate using white spirit. The whole plate was then covered in ink including the incision, using a piece of linoleum. Using a piece of netting, I removed a little ink and then used scraps of paper to remove more, rubbing the plate using a round circulation in all directions. The incision is the only area that needed to still be inked. Ink was removed from the edges and then I chalked the edges to protect them during the printing process.

I placed a piece of newsprint on the press, placed my plate down and placed another piece of newsprint on top, with a piece of paper to print on in between these layers. I used soaked paper for the print transfer because it is more elastic than dry paper. I soaked it in a bath of water, placed it between two pieces of paper and then used a rolling pin to help to decrease some of the moisture. There shouldn't be too much water on the surface for printing. White cardboard can also be soaked and used for Intaglio printing.

I then layered the felt mat on top, checked the pressure and spun the press to create the print. I used the smaller printing press in the studio but when I make a bigger plate I will use the bigger printing press.

Once I had finished the etching printing, I cleaned the plate with white spirit and then rinsed it with chalk and water. Then I allowed the plate to dry for a few minutes.

Aquatint - Preparing and Printing a Tonal Image 
I was then taught how to use the same plate to create an aquatint print. This process began with the plate being put into a resin box, laid on a piece of paper. The handle was spun until a cloud of resin could be seen and left for around 10 minutes. I then took the plate out of the resin box and placed it on the hot plate for a few minutes, sprinkling a few resin pieces on the plate so I could create a speckled print.

I was aiming to create a 3 tonal layer of aquatint so I thought carefully about where I wanted the lightest and darkest tones to be placed in the image. I started with filling in the lightest tone for the first layer, using a water-resistant marker. I could also use the ink that is kept in the printmaking cupboard, oil pastel or a graphite crayon. After completing the first layer, I placed the plate in the acid bath for 20 seconds to create a light grey tone when it is printed. The second layer was left for 30 seconds and the third layer for 2 minutes. If I were to create more layers I could leave the plate to soak in the acid bath for up to 5 minutes. The longer the duration, the more intense the tone is.

Adding tone - first layer 

Third layer of tone 

How the plate looked after the aquatint print 

The plate after aquatint with drypoint added on top

The actual print process was the same as etching, cleaning the marker pen off rather than varnish but the inking and printing press procedure was the same. I really like how my aquatint print turned out. It's not perfect and perhaps this doesn't suit the subject matter because it is religious and features biblical figures but the technique worked well to give the doorway added depth that is not observed in the etching. I look forward to experimenting more with the aquatint technique.

Drypoint - Preparing and Printing on top of a Tonal Image 
Once I had finished printing the aquatint image, I washed over the plate with white spirit and water.

The third print I created uses the drypoint technique. I added further lines using the sharp needle over the last aquatint layer. Unfortunately, this didn't work particularly well in my test print because I didn't make the new marks expressive enough to be seen easily but I will improve this in my next print.

Three final test prints
Top left - etching, middle right - aquatint, bottom left - drypoint

To summarise, I really enjoyed learning how to create an Intaglio print and being taught three different techniques. I hope to come up with a subject for my next print that references the work I have done for other classes so far and my experience of studying in Poland in general.

An Introduction to Intaglio Printing

Last week, I sent an email to the Intaglio printmaking tutor to ask a couple of questions about the process. These questions included the following. How do you teach students about the intaglio printing technique? Will we need to bring something to print onto like our own paper or is it provided in the studio? What are the topics for intaglio?

The reply from the Intaglio print tutor, Marcin Bialas was as follows, "We learn in studio basic techniques: etching, aquatint, drypoint etc. Students should bring one or two graphics in A4 dimension (for example). You will need: zinc plate (I can sell to you, 35x50cm for 20 Polish Zloty), solvent: benzyna ekstrakcyjna, denaturat, a steel needle (with a link to the art shop website where we can purchase one). I will tell you the rest when we meet. We have studio on Tuesday and Wednesday. See you!"

We arranged to meet him on Tuesday, he told us he would be in the studio from 10am to 7pm. On Tuesday afternoon, after completing some work in the morning, we went to meet the tutor in the Intaglio printing studio. Printmaking is a huge part of Polish art education and the facilities here as ASP Katowice are amazing. There are dedicated rooms for different printing techniques and the studios are large, open and airy with the perfect amount of natural light. We found the right printmaking room and managed to find Marcin. He asked us if we had done the technique or any other printmaking techniques before, we replied that we had not tried intaglio but we have done lino printing and screen printing. He asked to see our portfolios or a sketchbook but unfortunately we didn't have examples of these with us at the time so we will show him next week. Drawing is an important aspect in the creative process of intaglio printing so I think this is why he wanted to see some examples of our drawings beforehand so he could see which intaglio printing technique would suit us best.

Intaglio print examples exhibited on the studio walls

Marcin invited us into his office next to the intaglio print studio so that he could talk us through the technique and show us some example work. The process involves preparing an image on the surface of a metal plate - zinc or copper. The image can be a line drawing or tonal drawing, depending on which style you want to produce. The metal plate is prepared, an incision is made inside the plate and it can then be etched. It is best to start with a small plate and in this studio they almost always work on a zinc plate.

There are different possibilities that can be explored to create an image. The line technique is similar to a pen or ink drawing, the quality of line is precise, a few layers can be created and the thickness of the line can be altered from strong to delicate. This is known as Etching - an image is created from line. Aquatint technique is when images are prepared from tone; it is similar to painting or using a brush and ink. The technique uses paint and different tones. Drypoint involves drawing directly onto the plate. A strong drawing is created with an intense line. It is the only technique in which you do not need to use chemicals in the process. Instead, the plate is covered in resin.

Another possibility we could explore is mixing techniques. Aquatint (tone) can be mixed with the etching and drypoint techniques to create a mixed media print. I'm interested to try this out as I have never thought about combining printmaking techniques together into one print before.

Sugar lift is another technique we could experiment with, it is similar to etching. The technique involves creating painterly marks onto the etching plate using a sugar solution and a paintbrush. The areas painted are positive marks; it is a form of aquatint etching. This technique works well when combined with lino printing, the two techniques printed together. The intaglio tutors will help us to decide which of the techniques will suit us best when they see the ideas for our work next week. They can also help us to decide on the size of the plate once they see the proposition although it is advised that we start on a small scale so that we can check we know how to follow the process effectively. I think I will probably start working at either A5 or A6 size.

We managed to buy one steel needle from the shop he gave us the name of in the initial email, we will go back to buy another so that we can both work on our own individual plates. Marcin told us we can purchase the chemicals we need in the university art shop and also in another shop in the city. We also need to purchase paper to print onto, delicate sandpaper (1500/2000 grade) to polish the surface of the plate and scratch remover paste.

He went on to explain the first process, this involved preparing the zinc plate. I took photographs of the process along the way to help me to understand the order in which the plate needs to be prepared.

Filing the edges of the plate to remove ridges, using a 45 degree angle on the right side of the plate

Adding a chemical paste to clean the plate

The plate after its first layer of cleaning

Adding another liquid chemical to clean the plate - we also had to rub the plate with a piece of chalky substance and rinse it with water until you could no longer see any water marks

The plate on the heated surface covered in a varnish that is spread across the whole plate evenly, the experienced professor did this for us as the first time we tried we were unsuccessful as we weren't shown how to do it properly by the student helping us whilst the professor had to go out the studio

We met this tutor on our first day at ASP Katowice, whilst we were being given a tour of the university by some current students. He speaks only Polish but we have been able to converse with him. We were amused to find out what he said on that first day when asking our Erasmus friends a couple of weeks ago. The words he spoke weren't translated to us at the time but apparently he said something like, 'You are cute little girls. Please join our studio either to work or to party with me!'

Another of the chemicals used to clean/cover the plate

The plate was now ready to be drawn onto using the steel needle

We had to wait for the plate to cool down and the professor then advised us to cover the back with thick sticky tape. He also explained the drawing process. We should create a step by step drawing from a light to dark line. The lines should be separate. A simple sketch once made on the plate will be soaked in a bath of acid, then cleaned with water. Another layer can be made, 3 layers in total, keeping the design simple but precise. The first layer must always have separate lines. Any ideas can be used. We need to ensure we don't make big dents when using the needle on the plate, just scratch the surface with marks to create the image.

I look forward to coming up with a drawing that I can transfer to the plate. I will then be able to learn the inking and printing process. I hope to link my intaglio prints with some of the projects I am working on for other university classes such as Interdisciplinary. Within the project we have been set, Simulacra, I have been looking at architecture and artefacts so would like to create some intaglio prints with these subject matters.

More example Intaglio prints exhibited on the studio walls