Skyways – August 2019

What sort of training have you received and how important do

you think it is to seek training in terms of learning first principles

and refining technique?

I studied Fine Art at Rhodes University, where I majored

in printmaking and got my MFA in 2013. As a medium,

printmaking requires technical skill and knowledge.

At the same time, these skills are easily shared and

printmaking can be a collaborative effort between a

master printer (who carries out the technical process) and

artist (who visualises the image). In terms of technique,

it is important to know the fundamentals, in order first to

be able to print, and then to understand the limitations

and history of the medium to push boundaries. The same

goes for art history and conceptualisation – both of these

together with technical skill help to develop a unique

visual language. I’ve also completed a course in graphic

design through UCT GetSmarter. This has changed the

way I develop and proof ideas and compositions using

graphic design software. Both practices (printmaking

and design) are similar in that there is trial and error

and proofing in the process. There is also an intrinsic

connection or relationship between the two when one

considers the history of the printing.

Describe the techniques you use most. How complicated are

your methods, and why is each step necessary?

Definitely monotype printmaking at this stage.

Monotypes are different because they cannot be

editioned like other printing methods; they are once-

off prints, meaning that I only have one chance to print

the image. I’ve started working on two to three layered

monotypes, which involves printing separate monotypes

on top of each other. This means that registration and

planning are important during the process. However, I

have to be careful not to over-plan when it comes to the

imagery because expressiveness and movement can be

lost and there are a number of external factors that can

influence how the print comes out.

What technological tools do you use in your work?

An etching press and a variety of types of ink, but usually

I stick to primary colours, black, white and transparent,

and mix my own colours from here. I also use Perspex

sheets, paper – bought and handmade – and cloth,

brushes, found images, stencils and a few brayers or

rollers. I also use Adobe Illustrator if I am planning

something a bit more complicated and need visuals to

refer to.

Galleries and other traditional means are only one way of

marketing art. What do you believe are the most important other

routes?

Social media is an obvious option for promoting work,

but this also takes time and thought. I’m a shy person

and find it difficult to talk about and promote my work.

Staying in touch with peers and networking is another

good option. Discovering, developing, and being

confident in one’s own visual language is important.

One of the most significant insights I’ve gained is to

be honest in my creative process and not to bother too

much about what other people think of the end result.

It can be tempting to create in order to sell and make

money, but I think this can be a trap for falling into the

latest trends and ending up doing the same as everyone

else. Being isolated from the art world has its pros. At

the same time, I have to be careful of stagnating.

Text | Bruce Dennill Photography | Supplied

For more information,

go to gunsandrain.com.

Gone

to print

Carmen Ford enjoys the challenges

of her particular art form

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