< PreviousJOURNAL 10 11 JOURNAL Printmaking | Prof. Lucy Jochamowitz PRI 220 Etching I have chosen apes to represent expression, message, or story in my artworks. Apes are very similar to human beings, not only scientific aspects but also their body, gestures, and facial expressions. Why monkey? Because they represent a sincere and straightforward expression. Besides, the monkey is my born year in astrology belief, so it represents myself for emotion and feelings. My etching work is related to the reflection of Fire’s personalities in four essential elements: Water, Fire, Air, and Earth. From ancient Greek mythology, people believe that the four elements are the foundations of life and its spirituality, and it also explains human behavior. Then monotypes are my expressions and feelings about the pandemic situation that forced me to leave Florence and stays disconnected to my friends and people. First, the big monkey shadow with a stencil looks at the globe with bubble wrap texture and is wondering about the pandemic situation. The globe in the picture represents that the situation has an effect globally, and the monkey represents the living things like us is pondering and waiting for it to recover soon. Finally, the monotype of a monkey in front of a telephone booth represents the only way to connect to other people in these days because of the pandemic situation. The telephone booth represents a symbol of our communication these days. PRI SIRIWAN (MINK) KITTITHUMKULJOURNAL 12 13 JOURNAL In the first part of the semester, we began by continuing our research and understanding of copperplate etching. For my first plate, I was inspired by an image of a skeletal body etching. I felt extremely interested in the bony figure and wanted to create some sort of progression. The idea of growth from a puny to a full body. With this in mind, I decided to present three figures, one next to the other, with each more ‘Solved’ than the next. I chose for the characters to have a foot moving forward, and an arm slightly directed in front to suggest movement between the characters. This movement represents the development and walking from one state of being to another, whether that simply being physically growing or aging, to experience through an eating disorder, or simply the emotional and mental growth that comes with time and experience. The beauty of this design is that the ideas of progression are relevant to everyone and sway in and out of importance as our life and experiences change. Growth is something positive and relatable that can be seen in this etching. For my final project, I wanted to continue to work with the idea that I had already started to develop. Thus, I chose to continue to work with my first concept for etching, with the three figures. When I started to make my prints, I began by using oil paint in dark red, with some sap green on the glass. I used the palette knife to scrape away different lines and paste the paint on thick in some areas. Then I painted the image of the figures and printed them onto the page. I experimented heavily with mixing my colors, cutting out images, and printing over leaves from our garden; these all gave interesting effects. My favorite prints were the ones in which I printed the image in one color, and then beside it, slightly overlapping, I printed it again in a different color. The image’s duality was fascinating and encouraged the idea of evolution from the figures, progressing forward. Overall this has been a very interesting process. Not only have we had to adjust to a different lifestyle, but also adapt to different teaching and techniques. Printmaking | Prof. Lucy Jochamowitz PRI 220 Etching Monotype PRI PHOEBE EVANSJOURNAL 14 15 JOURNAL To be introduced to monotypes was for me amazingly. Easy, fast, and with surprising results. I enjoyed. The print I show here is inspired by the time we have lived in recent months with the insidious, hateful virus. I had a dream to meet Florence during a sunny, lush spring. Be able to walk with my friend in Florence’s parks. To enjoy the scents of spring and the birds’ quirks. It was not. The dream became an empty, quiet city - isolated in a small apartment. Hopefully, the world will be so much more beautiful when we come out on the other side of the pandemic. Printmaking | Prof. Lucy Jochamowitz PRI 220 Etching Monotype on gel plate PRI PIA KRISTINA KARLSSONJOURNAL 16 17 JOURNAL Red House on the Hill For this print I drew inspiration from Cézanne’s early paintings of houses in the south of France, such as his painting “House in Provence”. Paul Cézanne painted “House in Provence” early in his career in 1885. He created the image of a home, with mountains in the background. For obvious reasons, the topic of Florence’s landscapes felt very close to my heart, after having to leave there recently. I wanted to create a simple yet interesting image of homes in Italy. For this print, we worked from home using linocut, with the theme of landscapes in Florence. During my time in Florence this semester, I painted various watercolors of landscapes and houses. After choosing which watercolor sketch I would use for this piece, I divided it into three separate colors, yellow, red, and pink. I used a strategy of constructing the houses out of straight lines, including more wavy lines with the plants extended from the buildings. I chose to use a light yellow background to make the red color appear vibrant and create a sharp contrast. Goddess with Flowers in her Bones In my final print, I was inspired by the figures of Matisse’s “Blue Nudes”, as well as the Greek goddess Aphrodite. Matisse created his “Blue Nudes” in 1952. These works are a series of lithographs that depict nude figures in various positions. The Ancient Greek goddess, Aphrodite, is associated with beauty, love pleasure, passion, and procreation. Aphrodite is also referred to as Venus in Roman mythology and art. Certain flowers and trees, such as roses or pomegranates, are sacred to Aphrodite. Aphrodite is often depicted as the figure of a woman, and she is closely connected to the feminine figure. This is a topic that I love to work with, and I have always been most interested in illustrating the female figure. For this print, we used the technique of carving three different blocks to create the final image. I used a sketch of a female’s backside, with a branch of flowers emerging from her back. Printmaking | Prof. Lucy Jochamowitz PRI 272 Relief printmaking Red House on The Hill Goddess with Flowers in her Bones PRI AVA PEARLMANJOURNAL 18 19 JOURNAL Woodcutting was a very new process for me that I learned this semester. The tools we were given made these harsh lines in the wood that reminded me of how german expressionists use sharp dark lines in their pieces. This art movement has always inspired me because of their interesting dark themes. So when I was given a choice to pick my own theme for these works, I chose to focus on suffocation. This theme was heavily influenced by Kathe Kollwitz, a German expressionist who concentrated on death. Learning this process has been very rewarding. It is very interesting to see your work printed multiple times in a new technique. Printmaking | Prof. Lucy Jochamowitz PRI 272 Relief printmaking PRI CAROLINE AULLNext >