Print Making

Umberto Giovannini

Sophie: What are some of your favourite (environmentally sound) processes & materials to work with?
Umberto: I work mainly in woodcut. It is a direct process and it is very easy to go in the green direction with this printmaking process – all you need is a block of wood, some tools (which you will usually use for the rest of your life) and energy in your arms. Flakes of wood are the only waste. The environmental impact is very low.

Timothy Meara, from the series. Fish Eye, 2012.

Woodcut. 22x20 cm.

East London Printmakers, from the series Passing Through London, 2011.

Woodcut. 45x30 cm

All human activity has an environment impact. I think that an artist has to create – and creating something has an environment impact. That said, I think it is important to look for the less dangerous processes both for us and the environment.

 

Regina 1, from the series Regina d'Africa, 2013.

Woodcut. 22x20 cm.

Michael J Hopcroft

After many years in the computer industry, Hopkins rediscovered his childhood passion for drawing and painting in 2009. He began taking courses at Gage Academy and in 2012 and was later accepted into Juliette Aristides’ Classical Atelier. A value study assignment in 2012, sparked his passion for printmaking.

Hopkins' artwork is reliant upon contrast revealing the form of the subject. In fact, there is actually very little detail in the image. Instead, this striking combination of black and white attracts the viewer's attention. It can help focus the viewer's attention by removing detail small details from the piece.

 

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