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Hello and welcome to this site for printmaking and practice based research into:

The Drawn Portrait in Contemporary Printmaking: A journey between analogue and digital

 This research explores the value of using contemporary smart phone digital photography as a basis for portrait drawing, printmaking and how this process alters the meaning of the image.

Portrait prints 2019/20

Hamza. Jacket Man. A1 Drawn silkscreen. Canaletto Paper. 2019.
Hamza. Jacket Man collaborative with Mohammed Ali. Drawn silkscreen on tracing paper with overpaying. 2019.
Yuchen Yang 2020. A2 Silkscreen on cartridge
Mohammed Ali. Artist. A2 iPad draw and silkscreen printed.Canaletto Paper. 2019
Ifzal. Carpenter’s Peak. 101×68 Drawn silkscreen. Bread and Butter Paper 2019.
Ifzal. Carpenter’s Peak. 101×68 Drawn 3 colour silkscreen. Bread and Butter Paper 2019.
Ian Sergeant. PhD Passion. 2 Colour silkscreen. B&B 101x68cm. 2019
Adam Gee. A1 Silkscreen Duotone. 2019.
‘Mentor’. Stephen Goldstein. A1 Silkscreen. 2019
Adrian Stonemason. A2 Silkscreen 2017

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Ninder Johal Esq

Thoughtful, Musician and Entrepreneur Ninder Johal Esq

About

This is the Printmaking and Research Site for Jonnie Turpie’s journey in drawn and printed analogue and digital portraiture.

PREVIOUSLY

Since travelling south from Scotland to England to study Fine Art in Newcastle and Printmaking at the RCA many years ago Jonnie produced film, TV and Digital Media and established Maverick Television in Birmingham UK. Recently he began drawing again.

Using an Iphone and Ipad to make digital prints was the reintroduction to drawing, rapidly followed by modern  silk screen techniques  leading to large scale ‘litho-like’ portraits. These are created by drawing images from iphone ‘meetings’ onto textured mark resist film for exposing onto silk screens. Drawings are made with pencil, graphite, crayon, erasers, charcoal and scratches that allow different degrees of light to be exposed on to silk screen.

The quality of marks is created by the texture of the tooth and thereby the  size of marks that prevent the light coming through to the emulsion.  Once exposed and washed out the screens are ‘stopped out’ to allow the images to be isolated from their backgrounds and be printed on A1 or A0 papers. The images sometimes ‘float’ on the paper and at other times, the  light semi transparent paper holding portraits float.

This investigation into silkscreen printmaking and the fine art methodology of  serigraphy takes him into the materiality of mark making for print within the context of contemporary portraiture. This rebirth of his printmaking practice began during his year as  Artist in Residence at Birmingham City University’s School of Art. The print room at the school is his base for the PhD practice-led research.

The tabs in this site lead to the research into contemporary portraiture in digital and analogue he is pursuing and the art works he is creating.