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A lot of printing

September 8, 2013 by Andi Chapple   Comments (0)

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Having chosen my colours, my paper, etc. etc. etc. all I had to do was print the eight-colour prints. I thought I could afford enough paper and paint to do two sets; I hoped that I would be able to print accurately enough to get one usable set of prints, anyway (I didn't manage, but it wasn't too sloppy).

I took photos of the strips of colour once I was reasonably happy with the arrangements, then tightened everything up on the computer. Then I made some sheets of newsprint the same size as the paper I'd be printing on and drew everything out.

making the plan

The technique for lining everything up that I was shown involved a big piece of transparent plastic; I printed on to it, lined up one of the newsprint guides underneath ...

screen and plastic

... and marked the edges of the newsprint. Then I replaced the newsprint with the real paper, lined it up to the marks, put the plastic over it again and made adjustments. Then, having switched on the big vacuum pump under the printing table and muttered a prayer to the squeegee gods, I could at last print a stripe.

two colours

And then just do it again, and again, and again. Oh, and did I mention cleaning the screen and plastic every time I had printed a stripe of the current width and colour on two pieces of paper? It took six sessions at the University. I enjoyed it! There was a nice movement from concentration to relaxation and back and all that focusing really settles the mind.

At last the prints were complete:

laid out

Play within limits

September 8, 2013 by Andi Chapple   Comments (0)

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Okay, the thing I like about abstract/concrete art is that you're free to play about in a system of relations – my personality makes me like to have a system, I guess others are happy working intuitively but I feel better if I remove some freedom from a situation. The only snag is that you have to come up with a system to work within.

Having made decisions about the widths of the coloured strips in the prints I am planning, and what the colours will be, I thought for a bit and came up with a scheme to work with: each print will have eight strips of colour, one of each colour and one of each width. Over the eight prints the widths will vary relative to the colours by cycling through – say you have green, blue, orange ... for the first print, from the widest strip towards the narrowest, which is red; then the next print will have red as widest, then green next widest, blue ...

So now my task was to compose the prints. I had cut up some of my lovely A3 flat-colour pieces into strips in the appropriate proportions; now for each design I took the correct set of strips and whacked them down on a piece of paper fairly loosely and intuitively:

random arrangement 2 of 2

Then I started to work on the arrangements. I moved some strips around, then tightened up the spaces in between. In the end, all the designs had a strip right at the top and right at the bottom - this should give an overall shape to the set of prints when they’re displayed together – and I managed to get all eight colours in a bottom stripe and a top stripe. Here are a couple:

final 1 of 8

final 4 of 8

As you can see, I occasionally allowed myself to slant some of the stripes. It was an exciting moment, I can tell you. I think it will give an energy to the narrow white spaces between stripes that I really liked in the curve-based jazz festival design I mentioned in the previous post.

Explaining myself to the department

September 8, 2013 by Andi Chapple   Comments (0)

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AA2A are keen, I think, for artists on the scheme to find ways of opening up what they’re doing to the staff and students in the institutions where they are working. When I’ve managed to corner people, I’ve engaged people in conversation about what I’m up to and tried to find out a bit about their work, but the teachers in the department and I thought it would be a good idea to give a more formal talk. So on 2 March, I did the whole bit - standing at the front of a classroom, PowerPoint slides, questions afterwards.

I had assumed that no-one much was going to be there since it was reading week and no-one had to come in to the department, so I was touched that enough people came to fill a not particularly small room. I think I gave a good account of myself; I talked about what I’ve done in the past, my working life, what I’ve done here so far and what I’m trying at the moment.

I tried hard to give the 35-minute talk a good soundtrack, and that seemed to go okay. The moment that worked best was when I linked sound and image by playing a short piece called ‘Tonic’ (which you can hear at this webpage) at the same time as I showed a photo of the print-drying rack in the studio - ‘Tonic’ starts with the crash of the rack’s shelves being dropped and morphs into a chord of simple tones extracted from the rack’s basic resonance.

Kit Abraham, the course leader at the department, picked up on this and asked if I’d thought of doing film as it seemed to work to join sound and vision. My answer, of course, was that I’d love to but thought I would probably disappear into the editing suite and never come out …

My thanks go to everyone who sat through the talk and made interesting comments at the end.

Harmonies of width and colour

September 8, 2013 by Andi Chapple   Comments (0)

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I have been thinking more about a set of stripe-based prints as a more expansive project for the rest of my time on the AA2A scheme. I know I don’t want to use Adobe Illustrator to do the layout, as it was my plan for AA2A to get away from the computer as much as I could. This means, I think, that I can’t really use curves as I can’t really think how to work out the compositions in any sensible amount of time …

So rectangles it is.

There’s an old piano here in the art department that people sit and plunk at when they need to distract themselves for a bit, and I have spent a bit of time plunking myself. I had the idea of finding a chord on the piano that made me happy and translating it into a set of widths for stripes using frequency ratios.

It goes like this: a note on the piano, let’s say middle C, has a frequency associated with it. A note an octave higher, i.e. the next C to the right on the keyboard, will have a frequency twice as much as the first one. The frequencies of two notes a fifth apart will be in the ratio 3:2, a fourth apart 4:3 and so on. So having found my chord, and chosen a size for the lowest note/widest stripe, I have the widths of all the stripes.

second size set

I have been continuing to work on the colours for the prints. I’ve got a set that work together well, I hope (worked out on the computer! curses!) and I’ve been experimenting with the recipes to get the paints to give me as close as I can get to those colours. Now I’ve started printing A3 sized areas of flat colour to cut up into stripes the right size and start working out the compositions.

some colours

I love all those colours. Actually, if you gave me a piece of A3 paper with a big strong area of almost any colour, I would love it. You can see also that I have been playing about with the shapes of the areas of colour:

colour block white shape

This is just fun, but it’s also being filed away in the part of my mind that’s thinking ahead to maybe doing more printing once this residency is over, and also looking for a Plan B for these prints in case what I’m developing doesn’t work well enough. It’s also very easy - just using some parcel tape to mask off bits of the screen.

Design is about the circulation of ideas

September 8, 2013 by Andi Chapple   Comments (0)

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While I  have been coming down to Lancaster and having fun in the print studio, paid work has continued … One of my long-term graphic design clients has been Manchester Jazz Festival. They’ve been good people to work for and I think I’ve done some of my most interesting work for them.

I was particularly happy with my design for last years Festival:

manchester jazz festival 2009 poster

I have to admit to some borrowing for this from the work of a French painter and printmaker called Philippe Morisson, whose stuff I like a lot, along with other ‘stripy’ painters like Bridget Riley and Gene Davis. Here is a print of Morisson’s:

philippe morisson distances II 1972 screenprint 555 x 655 mm

Anyway, I began to think I could do something for AA2A with some sort of stripes and then started to think about producing a set of prints big enough to go in the church in Sedbergh along with a sound installation I have been working on for the 2010 Sedbergh Music Festival. This will be based on 8s, basically, since it uses bell ringing - and there are 8 bells at the church - and will be 8-channel sound, so I think I want to do something with 8 colours. Luckily the Jazz Festival idea, and the 2010 Sedbergh Music Festival publicity, give a good strong set of colours that I already know work.

This might be it

September 8, 2013 by Andi Chapple   Comments (0)

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I’ve worked hard on the prints that abstract the pattern of dry stone walls to make ‘glyphs’ but I don’t think what I’ve done so far is very strong. I think the idea in itself is okay, but when I’ve used it before for graphic design I was working from images of the Mancunian Way - an overhead motorway that runs south of Manchester city centre and gives you some very strong images of slip roads, flyovers and so on to work with that I thought were easy to read as well. These dry stone wall images aren’t quite strong enough (or readable enough) for me.

I had a think about what I could do to make a better print out of the idea. The first thing that occurred to me was that I didn’t really like the textured backgrounds and didn’t feel I had any good ideas for them. What has been making me happy during the project has been stuff like this:

a third-pass overprint

I really like the flatness of the areas of colour. I think I’d been trying to get texture in because I thought it was what other people would expect. When I look at my graphic design work I can see that I don’t have many ways of texturing things up and I don’t really seem to care - but there, you’ve got an extra layer because you have the client’s message on top of what you do.

The calligraphic forms taken from the dry stone walls were too fussy, as well, so I found another photo with a bit less in it to work with. Back to Illustrator to work out crops, positioning and so on, and in today’s session I got some finished prints:

curving wall screenprint

I’m still not 100% convinced, and my emotional reaction to some of the silhouette is mixed, but I think this is much more satisfying overall.

Art piece going to London, Birmingham and other places

August 26, 2013 by Ruth Hamblett   Comments (0)

Am pleased to annouce that a piece of my artwork has been selected to go to The Nunnery in Bow London on display from 3 - 27 October 2013 it may then tour if chosen for this route. Also a photograph of the piece will be in exhibition at THE FEMALE PROJECT in Birmingham from 6 September 2013 with the artist Emma Leppington.

Contining the great work

July 19, 2013 by Ruth Hamblett   Comments (0)

At the third year students degree show was informed by tutor that they want me to continue to be  student blogger for AA2A Artists so pleased as it will cumulate my last year in my masters course and as it has already had an influence in my practice can only realise that it could develop even more.  Would also like to ask the question about which students won the the student of the year award or is this still ongoing.

Help us spread the word!

July 9, 2013 by AA2A Info   Comments (0)

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Hi AA2A artists and fans,

Please can you help us spread the word about AA2A, whether you've been on the scheme and would recommend it to others or if you might apply yourself  - don't forget Artists on AA2A schemes run from 2011 to 2012 or before can now reapply!

We now have all our 27 AA2A host institutions confirmed. For more details go to our Map and list of our 27 schemes   You can also follow us on  Twitter  and  Facebook for all the latest updates.

The AA2A project offers artists & designer makers the opportunity to undertake a period of research or realise a project using art college facilities eg. workshops, IT facilities, lending library, & lecture programme.  AA2A schemes aim to benefit students and Colleges through their interaction with practising artists.

FOR FULL ELIGIBILITY CRITERIA AND DETAILS OF HOW TO APPLY   aa2a.org/apply

  • Access is free, for at least 100 hours, between Oct 2013 and April 2014 and a small grant of up to £220 may be available for some artists from AA2A's 'Hardship fund'.
  • Closing dates for applications vary but all are in September 2013.
  • Applicants must have at least one years professional practice and should be able to work with minimal technical support.

To see current AA2A artists' work go to http://aa2a.biz or read previous artists' stories here.

AA2A particularly welcomes applications from applicants with disabilities, from culturally diverse backgrounds and non-graduates.

APPLICATION PACKS ARE ONLY AVAILABLE DIRECTLY FROM THE COLLEGES TAKING PART

If you'd like to join the mailing list email info@aa2a.biz

Progress entering Something important

June 28, 2013 by Ruth Hamblett   Comments (0)

Decided that as have been very influenced by working with AA2A artists am going to use the work that I have produced to enter the visual image into a artist competion, will not say where as do not want to jinx myself but hope to prove my artistic talents to the world at long last and see where this experience takes me. Have previously posted the image into the network a while ago so hope you know which piece am entering.

 

Also because of gaining more confidence have recently progressed into Performance Art Piece and made my debut appearance last Thursday at Roots Gallery in Coventry, photographs are available on their web page please feel free to view this site.