Many of us respond powerfully to the landscape; its moods, spaces and associations move us. There is a rich tradition of English artist printmakers who have articulated this love of a specific place. Looking carefully at the work of John Sell Cotman, Edward Bawden, Eric Ravilious, Graham Sutherland, Ben Nicholson and Howard Hodgkin, we will learn from their techniques and differing intentions.
By employing two contrasting processes, we will benefit from their complementary approaches: monotype is painterly, fast, and produces a unique image; linocut is linear, slow and reproducible. The spontaneous response which monoprinting demands is extremely direct, whereas linocut requires considered planning and mark-making to produce an image. This is a course that will link our emotional interpretation of West Dean Gardens with these two exciting mediums of printmaking.
You will move through a structured progression from producing a monotype directly in the landscape, transforming an image into a design, cutting a linocut plate and then printing the final state. We will also, as time allows, try reworking a number of the prints using monotype over or under the finished lino plate. This is a fast moving course, which is accessible to all levels, however, an ability to throw yourself into your work and take risks is essential, as is a love of landscape and prints.
You should produce at least four monoprints, one finished linocut plate, and, from this, a proofing print, a good print and possibly a mixed technique reworked print. You will also learn to identify what moves us about a specific landscape, how to handle the mediums of monoprint and linocut effectively, and to see the potential of reworking prints as an additional bonus process.
Every student will follow the same programme, but the tutor will get to know your needs and can tailor the sessions towards your objectives. Every session has a group introduction followed by individual instruction. The final review session is the most important in terms of tutorial direction, with a detailed analysis of the week’s work and suggestions as to how you could progress after the course.
Arrival Day - this is the first date listed above
Courses start early evening. Residential students to arrive from 4pm, non-residential students to arrive by 6.45pm.
6.45pm: Welcome, followed by dinner (included).
8 - 9pm: First teaching session, attendance is essential.
Classes 9.15 - 5pm, lunch is included.
From 6.30pm: Dinner (included for residential students).
Evening working - students may have access to workshops until 9pm, but only with their tutor's permission and provided any health and safety guidelines are observed.
Classes 9.15am - 3pm, lunch is included.
Residential students are to vacate their rooms by 10am please.
(This timetable is for courses of more than one day in length. The tutor may make slight variations)
- Included in the fee for this course is: water based ink, an A4 lino sheet and 3 sheets of printing paper, pre-torn down for press bed size per student.
What students need to bring
- Water containers
- Messy printing clothes, overalls or an apron
- If possible, research the mediums of linocut and monotype; Pablo Picasso (linocut) and Edgar Dégas (monotype). If you are a beginner, try drawing from a local landscape, capturing what is important about it for you.
- Pencils: HB, 2B, 4B, 6B
- Various papers for printing on
- Tracing paper – 3 X A4 sheets
- Carbon paper – 1 X A4 sheet
- Brushes (for water based inks)
- A set of lino cutting tools
Available to buy
- Available from shop:
- A good variety of art materials including: sketchbooks, pencils: HB, 2B, 4B, 6B, various papers for printing on, tracing paper, carbon paper, brushes (for water based inks) and sets of lino cutting tools.
Please wear appropriate clothing/aprons for the workshop or studio. This includes stout covered footwear, i.e. no open-toes or sandals.