Archive for May, 2010

Jessica Peffer:

As far back as I can remember I have been inspired by the art of Jessica Peffer and about 5 years ago I bought these books, which have been well-used:

Jessica Peffer’s illustrations focus on the mythical and mystical fantasy creatures such as dragons, fairies and unicorns, and this genre was my inspiration during my earlier years when I first began experimenting with digital art. I still find the books useful for inspiration.


Some of Jessica Peffer’s illustrations:

I particularly like the way Jessica Peffer uses shading on her illustrations.

Sarah Ellerton:

Sarah Ellerton has produced a number of fantasy graphic novels and webcomics and says she chose initially to create a webcomic as a means of improving her art. The first webcomic she produced was entitled Inverloch, which became a five-volume series. After finishing Inverloch, Ellerton began work on a second webcomic, The Phoenix Requiem which, like Inverloch, already has a complete script written and is planned to consist of five volumes.

To create each page of Inverloch, Sarah Ellerton planned out the panels with sketches on paper and then drew and coloured them in Adobe Photoshop, using a Wacom graphics tablet. ( My own preferred technique for digital illustrations.)  She drew each panel individually, rearranging, resizing, and organizing them in Photoshop.

I have always been a big fan of Sarah Ellerton’s work.

Sarah Ellerton’s illustrations, particularly in the “Phoenix Requiem” are particularly beautiful to look at and I find them particularly inspiring, her style captures the mystical Victorian-style theme so effectively. Sarah Ellerton’s webcomics can be found at http://www.seraph-inn.com/

Inspired by the work of Sarah Ellerton in particular I hope to start my own webcomic during the summer.

For anyone interested in webcomics, this is an interesting article


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One of my artistic influences is Victoria Frances, a Spanish illustrator.  Here is some of her work:

I love the dark gothic themes of these illustrations, and also the Victorian-esque costumes and the inticate detail.

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I also tried my hand at embossing some of my printing plates. Embossing involves pressing damp paper onto the printing plate and putting it through the press. An impression of he print then is transferred top the paper. The following photograph shows my attempt at using this technique:

My Embossed Landscape.

I like the way this turned out as it shows the different textures and layers of the landscape well and creates an abstract image of rolling fields and hills.

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We were required to look at Collograph printing, and produce our own collograph print.

Collograph: A collograph is a collage of tactile and relief textures on a backing board which when inked and painted will exaggerate the relief and transmit it to the paper, creating a rich varied surface, with different tones and shadowing caused by the differential inking on the different textures.

I looked at artists who had produced work using the collograph technique, and once again I was drawn to landscapes. An artist whose work I particularly like is PIP CARPENTER, who is an artist and printmaker who works a lot with collographs.


Some of Pip Carpenter’s work:

“Fields of Blue”

” Evening Scarlet”

“Lincolnshire Edge II”

I particularly like these because of once again the depth of the landscapes and the textures and colours. Pip Carpenter makes her collographs on location and then adds extra colour work to the printed image. The result is vibrant yet muted tones which are very striking.

For my own first experimental attempt at collograph I decided to stick to something simple. I made a small collograph plate and added textured paper, cardboard, foam, lace and string to create texture. This was then inked and printed:

Although this is a very simple and experimental attempt at a collograph, it was interesting to see how the different textures appeared on the final print.

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Having been inspired by the landscape linocut prints of Ian Phillips and Isabel de Bohun Lockyer I decided to try and create an abstract landscape print of my own using relief collage printing and monoprinting.

1. Relief Collage Print: I initally made a low-relief collage using strips of cardboard, fabric, string, netting, foam etc to represent different textured layers in a landscape.

This  plate was then inked and paper laid over it, and the paper and plate were put through the press.

The paper was then peeled off to reveal the image of the finished print:

As this was my first ever attempt at a relief collage print I am quite happy at the way it turned out. I think it represents an abstract landscape and the different layers and textures are clearly visible.

2. Monoprint:

My intention here was to create an abstract landscape using the monoprint technique:

Firstly the plate was inked.

Then areas of ink were removed:

The paper was placed over the plate and put through the press once, which produced this print:

and then a second press produced this image:

Overall I am really pleased with the way these turned out. I like the abstract, almost mystical feel to the landscapes.

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As part of my Media and Techniques Module I have been required to explore a range of printmaking techniques, including  monoprints, linocuts, relief collage, collograph and embossing. 


Linocut is an example of relief printing, where portions of the surface of the lino block are cut away to create an image which will be used as the printing surface. Ink is applied to the printing surface with a roller, and the paper is placed on top.  The lino and the paper are then put though a press and the paper is peeled away to reveal the image. Our brief was to design a block based on a letter of the alphabet. I found the practical task of cutting the lino to be particularly difficult. and I even drew blood in the process ( OUCH !!!!! ). Because of the fact that this was my first ever attempt at Linocut and the difficulty I was having, I decided to keep it simple. The letter I chose was A, mainly because it was symmetrical, and I depicted the image of an angel  ” A for angel” ( Unfortunately I did not take  any photographs during this process)

Research:  I tried to search for artists who had produced alphabets or letter prints using linocut and was not particularly successful. However, I came across an interesting book from the 1920s which featured all the letters of the alphabet in linocut print. The following images are from the book:

You can check out all of the letters in the book on the following link:


While researching the Linocut technique,  I looked at the work of artists and printmakers who use the Linocut technique. I found myself drawn to the landscapes as I found these amazingly intricate. The work I particular liked was that of  ISABEL DE BOHUN LOCKYER and IAN PHILLIPS.


This linocut print entitled “Chateau de Gruyeres” (1926) captures the majestic scenery and the print has a depth and substance to it which I particularly like, in particular the shading of the trees and the shadows and light.

“The Lagoon, Corfu” (1928) again shows depth and I love the intricate detail and the way in which the different features of the landscape are layered. The way the mist is portrayed on the mountains is stunning, particularly considering this is done with linocut.

Another linocut artist I found particularly inspiring was IAN PHILLIPS:

Ian Phillips is a contemporary artist and linocut printmaker who features Welsh landscapes in his work.


Aran Fawthwy from Waun Llinau by Ian Phillips

Clouds Clear Above Glyn Collwn by Ian Phillips

O6 by Ian Phillip  ( Offa’s Dyke Path)

Crug a Cigfran by Ian Phillips

What I particularly like about these prints is the layering of the different features of the landscapes which shows all of the different textures, and gives the images depth. The colour and lighting is particularly impressive … you could almost be there. Difficult to imagine how anyone could produce such clear and detailed images using linocut. These prints inspired me to try and create landscape prints showing different layers and textures using  the relief collage print and monoprint techniques, which I found a lot less difficult than linocut.

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These are some of the photographs I took as reference photographs for the animation project:

We decided to use the third photograph as inspiration for the animation. I then produced a  sketch of the waterfall and we added the colour in pastel and chalk during the process of animating the watefall, as we wanted to have a rough sketchy feel and not to be too neat and precise.

and working in a team with Keith we went on to produce a “smudge and click” animation. I was largely happy with the finished animation, although animating water was a lot more difficult  than I thought.

Please don’t ask what the lizard was doing  …….

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