Exploring creating atmosphere of time and movement through reportage.

Bjorn Lie, surface and texture.

He is using a technique where he cuts into the papers surface with a scalpel, and using charcoal or pastels, he rubs in slightly, giving an airbrushed effect. With stencil cutting, if there’s a mistake, you have to incorporate it and enjoy the mark making. 

I used his method of scalpel and paper, rubbing charcoal into the exposed paper.
 There are some difficulties i came across, how on earth does he get it so clean cut? Obviously he has had a long time perfecting it.

I tried using the scalpel into paper, taking only a slight layer off. This was hard if you miscalculated the pressure and went through the paper, of didn’t press evenly enough through the line and end up peeling sections off and making a mess.

 I used a paintbrush to place charcoal in the areas and spread it, occasionally using the stick directly for saturation. I haven’t achieved the high finish Lie has, where it looks as though he has used stencils or something to keep the paper clean. 

 I have chosen his aspect of cutting into the surface and will create a woodcut.

His work is of botanical, nature, strange animal creatures....

I have chosen a quirky shop front from Stroud to work with, as it has difficult reflections to capture and because its a building i had to make up interesting marks to describe flat surface. I just about remembered that with woodcut, you have to mirror the image and work from a backward image, so when it prints the text is the right way!

reference point : I chose the aspects of carving and cutting into the surface... I followed wood cut as the next thing. It was very enjoyable to do and I would like to produce more.

A pencil rubbing of the relief, to show texture 

Woodcut in teal, with use of stencil print for the texture on the walls. The text is a bit  misshapen as when i was cutting into the wood, slight layers would lift off and then you lose the height of the wood needed for ink.

I intend to sell these at a stall in Stroud on the 13th February. 

I painted watercolours and gouache onto one of the prints. It was relaxing to do, and i spent a day working into it with limited colours of peach, yellow, blue and dark blue as well as the use of teal from the print.

 I used opacity of watercolours by mixing with white gouache. 

I love that now I have two completely different images from one starting point..... referring back to Bjorn Lie, He drew some botanical studies, inspired by Ernst Haeckel. Daiz, an Australian fashion company, asked if they could use the prints for shirts. An email from a friend who had just released a vinyl record asked if he had any work he’d like to give for the cover - flowers! A german teeshirt company also saw the work and printed it on teeshirts, and the art director of the New York times (Alexandra) asked him to create an editorial per ice for an article about opiets.  From the drawings, he also was approached to create labels for Scarlett Spritzer, featuring a prehistoric duck... all from one image, he had many outcomes. 
I feel that my print has the same potential of becoming separate art in their own means.

I liked working in the multimedia way and will try out more methods. 

Languages – Mechanisms of communication./Surrealism/ Humour/ nonsense/ Abstraction, decorative, pattern./ metaphor/conceptual/symbolic/ montage/juxtaposition/emulation /documentary, reportage/ interactivity/ realism/ anthropomorphism Aspects of production / Composition/ Viewpoint / people/gesture/expression/performance Character/ / Simplification/stylization / Scale . Narrative structure/sequence/ Time colour / place/context/background / 3d elements, made objects / platform- – Layout.