Printmaking

    OCR
    GCSE

    Printmaking necessitates the manipulation of matrices—whether relief, intaglio, planographic, or stencil—to generate multiple impressions. Candidates must evidence technical control over ink viscosity, pressure application, and registration accuracy while exploring the aesthetic potential of the chosen substrate. Assessment focuses on the iterative refinement of the plate or screen, requiring critical analysis of proof prints to inform the final edition. Mastery involves exploiting the specific characteristics of the medium, such as the burr in drypoint or the grain in woodcut, to communicate conceptual intent.

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    Objectives
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    Exam Tips
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    Pitfalls
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    Key Terms
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    Mark Points

    Subtopics in this area

    Printmaking
    Printmaking
    Printmaking

    What You Need to Demonstrate

    Key skills and knowledge for this topic

    • Award marks for sustained investigation of historical or contemporary printmakers (e.g., German Expressionism, Pop Art) that directly informs personal development (AO1).
    • Credit evidence of purposeful experimentation with overlaying, reduction methods, or varying ink viscosity to refine visual language (AO2).
    • Candidates must record the technical process, including annotated contact sheets or test prints, explaining decision-making regarding registration and colour palettes (AO3).
    • Assess the technical competency in the final realization, looking for crisp registration, consistent inking, and intentional mark-making that resolves initial intentions (AO4).
    • Credit evidence of risk-taking in the manipulation of surface qualities, such as varying line depth in drypoint or texture in collagraph (AO2)
    • Award marks for critical analysis of sources that informs the development of personal imagery, moving beyond mere pastiche of established styles (AO1)
    • Assess the systematic recording of the printing process; annotated test strips and ghost prints must document decision-making (AO3)
    • Evaluate technical mastery in the final realization, specifically regarding ink consistency, paper handling, and registration accuracy (AO4)

    Example Examiner Feedback

    Real feedback patterns examiners use when marking

    • "Your lino cuts show promise; to access higher mark bands, annotate your test prints to explain why you chose specific colour combinations."
    • "The link to [Artist Name] is clear in subject matter, but you must demonstrate how their specific technical application of ink has influenced your own experimentation."
    • "Excellent final outcome. Ensure your portfolio includes the 'failed' experiments to evidence the rigorous refinement process required for AO2."
    • "You have recorded your observations well. Now, refine your use of the brayer to ensure consistent ink coverage across the series."
    • "Your technical skill with the gouge is evident; now annotate *why* you chose specific mark-making techniques to link back to your artist research."
    • "Do not hide your mistakes. Include the over-inked proof in your sketchbook and explain what you adjusted to correct it."
    • "The final print is strong, but the journey is unclear. Add a contact sheet of your developmental stages to satisfy AO2."
    • "You have recorded the image well, but you must also record your insights. Analyse the effect of the colour overlay rather than just stating you did it."
    • "Annotate the *impact* of the reduction technique on the narrative, not just the mechanical steps taken."
    • "Evidence of registration alignment is inconsistent; demonstrate control through use of registration tabs or jigs."
    • "The link to the source artist is superficial; analyse their use of negative space and apply that specific principle to your lino cut."
    • "Experimentation with ink viscosity is limited; broaden the inquiry to include transparency and overlay effects to secure higher AO2 marks."

    Marking Points

    Key points examiners look for in your answers

    • Award marks for sustained investigation of historical or contemporary printmakers (e.g., German Expressionism, Pop Art) that directly informs personal development (AO1).
    • Credit evidence of purposeful experimentation with overlaying, reduction methods, or varying ink viscosity to refine visual language (AO2).
    • Candidates must record the technical process, including annotated contact sheets or test prints, explaining decision-making regarding registration and colour palettes (AO3).
    • Assess the technical competency in the final realization, looking for crisp registration, consistent inking, and intentional mark-making that resolves initial intentions (AO4).
    • Credit evidence of risk-taking in the manipulation of surface qualities, such as varying line depth in drypoint or texture in collagraph (AO2)
    • Award marks for critical analysis of sources that informs the development of personal imagery, moving beyond mere pastiche of established styles (AO1)
    • Assess the systematic recording of the printing process; annotated test strips and ghost prints must document decision-making (AO3)
    • Evaluate technical mastery in the final realization, specifically regarding ink consistency, paper handling, and registration accuracy (AO4)
    • Credit evidence of rigorous experimentation (AO2) with specific variables such as ink viscosity, overlay, registration, and substrate choice.
    • Assess the critical analysis of historical or contemporary printmakers (AO1) and how this investigation directly informs the candidate's technical application.
    • Look for the recording of the iterative process (AO3); annotated proofs must explain decision-making regarding composition, colour separation, and mark-making.
    • Award marks for the final realization (AO4) based on technical control (clean margins, precise registration) and visual coherence aligned with the stated intent.

    Examiner Tips

    Expert advice for maximising your marks

    • 💡Ensure every test print is kept and annotated; examiners reward the *journey* of refinement (AO2) as much as the final outcome.
    • 💡Explicitly reference how the specific mark-making techniques of your chosen artist (e.g., the coarse gouges of Die Brücke artists) influenced your own cutting style.
    • 💡Use annotation to bridge the gap between visual evidence and intent; explain technical difficulties and how they were overcome to demonstrate critical understanding.
    • 💡Retain all 'states' of the print; annotate changes made to the block or plate between proofings to explicitly evidence AO2
    • 💡Ensure the Contextual References (AO1) directly influence the technical application, such as adopting the chiaroscuro technique of Rembrandt in etching
    • 💡Demonstrate control over the editioning process; consistent inking and clean margins are critical for high-band AO4 marks
    • 💡Retain all 'ghost' prints, mis-registrations, and test strips to evidence the refinement journey required for AO2.
    • 💡Explicitly link the choice of substrate (e.g., handmade paper, fabric, acetate) to the conceptual theme to maximize AO4 marks.
    • 💡Use specific terminology (e.g., 'reduction method', 'aquatint', 'serigraphy', 'registration marks') to demonstrate critical understanding.
    • 💡Ensure the connection between the initial sketches (AO3) and the final print (AO4) is visible and logical.

    Common Mistakes

    Pitfalls to avoid in your exam answers

    • Presenting a final print without evidence of the iterative design process, test prints, or 'failures' which limits AO2 achievement.
    • Producing artist research pages that are purely biographical without analysing the artist's technique or visual language.
    • Failing to annotate the refinement process; specifically, not explaining *why* a specific paper stock or ink colour was selected.
    • Discarding unsuccessful proofs rather than retaining them as evidence of the refinement process (AO2)
    • Producing a final print that lacks connection to the preparatory research and investigation (AO4/AO1 disconnect)
    • Descriptive annotation ('I cut the lino') rather than analytical reflection ('I used a V-gouge to create directional tension') (AO3)
    • Submitting a single 'perfect' print without evidence of the trial proofing or state variations (limiting AO2 credit).
    • Descriptive annotation of the mechanical process (e.g., 'I carved the lino') rather than analytical reflection on the visual impact of the marks.
    • Inconsistent inking or poor registration presented as a stylistic choice without sufficient justification or precedent.
    • Failing to acknowledge the influence of sources (AO1) within the practical development of the print plate.

    Key Terminology

    Essential terms to know

    Matrix Manipulation (Relief, Intaglio, Planographic)
    Ink Viscosity and Transfer Mechanics
    Registration, Layering, and Editioning
    Matrix Manipulation and Surface Preparation
    Ink Viscosity and Transfer Mechanics
    Registration and Editioning Protocols
    Positive/Negative Space Reversal
    Matrix Manipulation (Relief, Intaglio, Planographic)
    Ink Viscosity and Transfer Mechanics
    Registration, Layering, and Editioning

    Likely Command Words

    How questions on this topic are typically asked

    Develop
    Refine
    Record
    Present
    Investigate
    Explore
    Realise

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