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The layout ; serpents, serpent text, turtle, turtle text, Tasmanian tiger, ROAR text. A difficulty that I came across was that I used a different type of block paint for my final prints that used in my trial prints. The colour of my final prints was less opaque. However, this may work to my advantage as if we look at the ancient drawings created by the aboriginal people they are dated as they were created thousands of years ago. Overall, I'm delighted with my final result as I feel that the style throughout makes it all come together quite nicely.

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Franz Marc woodcut of his tiger is an excellent piece. What I found interesting of it was how the shape of the tiger. Animals played a central role in the art of Franz Marc, who attempted to capture their spiritual purity through bold, stylised forms like those of the tiger depicted in this woodcut. He created a dynamic Expressionist style that used rhythmic patterns of colour and line to evoke movement. In a short text he wrote in 1910, Marc stated that he was trying to "achieve a pantheistic empathy with the throbbing and racing of the blood in nature, in trees, in animals, in the air."

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I came across a modern aboriginal artist called Sam Assan on the Japingka online site that features aboriginal art. Below is work, which was an acrylic on canvas. He chose to crisscross lines diagonal over one another in three different colours. Although I found it interesting to observe, I decided to have a more simplistic approach to the overall shape of the turtle.

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Jimmy's early works for prints were all black and white. One of the most exciting things is the carving techniques used by Aboriginal people that I found is that the whole use of tools is different from Western use. The usual way for an Aboriginal person to carve into wood or on a boab nut is a kind of wavering motion with the hand. The tool makes a zig-zag; it moves forward and makes this energetic line. Jimmy's carving on lino-block rarely has the smooth lines that we might expect with non-Indigenous lino-block printing. It's all got this kind of active waving line that's full of jagged edges. Although I found this style interesting, I wanted to bring a modern twist by making my lines smooth while still incorporating colour and animals.

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Jimmy Pike was a fascinating artist that I discovered as he had a powerful influence over the use of bright colours in contemporary Australian Aboriginal art. Pike was born in approximately 1940 in Western Australia.

Jimmy Pike is an artist whose work centres on aboriginal myths; the rainbow serpent represents a god, responsible for giving life as well as creating and destroying nature. According to legend, when a rainbow is present in the sky, the snake is travelling between watering holes, keeping them flowing even when drought parches the land. Some natives believe that the rainbow serpent blesses the fertility of women who wade in the water visited by the snake. Others credit the serpent for the growth of crops, while others believe it is responsible for ruling over communities and keeping harmony. As you can see, the rainbow serpent is vital in Australian culture. Yet, it also has a dark side, showing its destructive nature if the people fail to give it proper respect. The rainbow serpent is to be behind storms and floods, sent as punishment when needed.

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My inspiration for this project focused on bringing a modern twist to aboriginal art. Indigenous Australians created aboriginal art around 60,000 years ago. They didn't have a written language at the time so often conveyed importable cultural stories through symbols. Their heavily featured characters of the snake, turtle and Tasmanian tiger influence my work. They are also used to depict various records and are still used currently in contemporary Aboriginal Art. Ancient symbols can be seen in their rock paintings, cave paintings, body paint, ceremonial clothing, and sand painting. Traditionally, only ochre, or natural pigments, were used in Aboriginal art because that's what they had readily available. They created paintings using materials in their surroundings, such as plants and even mud. These pigments were used to produce colours such as white, yellow, red and black from charcoal.

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This plays along with the ide of Menna Jenkins for reflection but i also included the aboriginal sumbols.

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This video was a great for reference in how to carve.

Relief printing is when you carve into a printing block that you then use to press onto paper and make a print. The lines or shapes you cut into the printing block will not have ink on them, so will not show up on your paper. Instead, the print will reveal the parts you don't carve because they come into contact with the ink. The print will be a mirror image of what you see on your printing block (remember this when working with text).

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Introduction to Linocut Printing for Beginners

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Tasmanian Tiger drawn by the aboriginal people

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Tasmanian Tiger drawn by the aboriginal people

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Snake found on ancient rock by aborigional people.

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Snake found on ancient rock by aborigional people.

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Turtle found on rocks designed by the aboriginal people.

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Turtle found on rocks designed by the aboriginal people.

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Aboriginal symbols that could be included 

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Aboriginal symbols that could be included 

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They didn't have a written language at the time so often conveyed importable cultural stories through symbols.

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Inspired acrylic based on Andy Warhol using same vibrant colours

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Inspired acrylic based on Andy Warhol using same vibrant colours

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Ivor Abrahams

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Tasmanian Tiger

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Misch Kohn

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Henderson

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Menna Jenkins is a modern-day artist whose style influenced my serpent text. Significantly, one of her most recent works "BOMB". Jenkins work focuses on linocut printing techniques. I believe that her purity of the image, the seemingly innocent humour and the sharp analysis is very reminiscent of the original 'Pop' ethos. Her striking colour palette was the main inspiration for using primary colours. The red against the yellow is incredibly vibrant, which is something that is echoed here in the intricate detail. It was interesting to see how I could compose my text and how negative space can be substantial. I decided that her limited colour palette of red, black and yellow was something that I wanted to attempt in my work. For my outcome, I wanted to use this as my chosen palette. Another aspect of her work that influenced me was how she reflected the word in her piece. I found it very visually pleasing, so I tried it in my work. I found this interesting as you can read the phrase serpent then from whatever angle you view my concertina.

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Based on Browne

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Based on two snakes

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Graham Sutherland

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Albertus Seba

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Based on Patrick Caulfield

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Gauguin’s Paradise Noa Noa (fragrant Scent)

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Gauguin’s Paradise Noa Noa (fragrant Scent)

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In Gauguin's Paradise Noa Noa (Fragrant Scent) monotype, mark-making is located at the sides of the artwork. I experimented with this as a background for the snake but didn't include it in my outcome.

My vision for the first page would be two snakes printed on top of one another. Red on the bottom and yellow on the top with then an added black detail on the top. Aboriginal people have excellent knowledge of the natural world. They believed that snakes were strong forces in the animal kingdom and one to be respected. Snakes feature strongly in Aboriginal people's creation stories through their paintings and carvings. The snake is a symbol of strength, creativity and continuity since ancient times.

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Holly Pereira

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This could be an idea to include into my concertina

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Through further research, I came across the Tasmanian tiger. My style of the text for the tiger came from Edward Rusha "Honk". In his artwork, the letters are filled in with bright yellow acrylic paint and sit in front of a dark background. This trails on an area of deep red that is perpendicular to the yellow lettering, suggesting depth within the picture. His palette restricted to the three primary colours. HONK is reminiscent of sign painting and graphic design in its bold clarity and legibility. I wanted to try recreating such depth. However, I selected the word "ROAR", in large bold font.

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simple figure and text in image.

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For my vision of the turtle, I just wanted to focus on little linework and colour. Saul Bass encouraged the way I presented the text and artwork for my turtle. I only choose to use small text and a limited colour palette of red and black. Bass was an American Graphic Designer who became widely recognised in the film industry after creating the title sequence for Otto Preminger's 'The Man with the Golden Arm'.  Saul Bass is known for creating compelling and memorable title sequences, inventing a new type of kinetic typography. It was this revolutionary work that made Saul Bass an influential and well respected graphic designer. The red version of 'Anatomy of murder" is the original concept Bass created for the film. It was privately in a limited edition. I like how in Bass's work, he used a silhouette of the body. For my turtle, I decided to use the silhouette with simple text in the middle of the object.

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reflection and line based

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Menna Jenkins

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uses paint drop effect

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For this project, I used lino as my print surface. Each print was 150mm x 100mm. The type of paper I used was Zerkall printing paper. Throughout these six weeks, I have become familiar with the possibilities of this medium and taken time to explore my subject, focusing on the detail, the colour, the line, texture, the light and the shadow. I have developed my visual language and have finally come up with my own unique and considered imagery.

For this project, our brief was to reinterpret Guillaume Apollinaire's poem Bestiary or the Parade of Orpheus (1911). The artist Raoul Dufy completed a series of woodcuts to accompany the poem, which we used as a starting point for this project. The material and tools that I used were: linoleum, carving tools, tracing paper, paper, roller, ink, Japanese baren, palette knife, pencil and eraser.