Watercolor and printmaking are two distinct categories of painting that differ greatly in terms of materials, forms of composition and visual language. Nonetheless, the possibility of integration between the two materials still exists. Edgar Degas (1834-1917), Edvard Munch (1863-1944) and Paul Klee (1879-1940) all incorporated watercolor into their printing works, which was also used in the 'half-print, half-paint' technique of traditional Chinese woodblock prints (Huo & Yu, 2009). But in the works of the above-mentioned artists and in the Chinese woodblock prints, watercolor is seen as a tool to add a sense of color, and its own characteristic watery, colorful nature is not shown. This research explores the feasibility of integrating watercolor and printmaking in contemporary art through artistic practice. Firstly, the essay compares the historical evolution of watercolors and Printmaking in the art historical context of being used together in the same work. Then, based on the concept of 'harmony' in Eastern philosophy - Taoism and Confucianism - this study concludes that the calligraphic brushwork is an important factor in the integration of watercolor and printmaking, after a three-part artistic practice of mixing, combining and integrating. This study shows that one of the ways in which watercolor and printmaking can be integrated into a two-dimensional visual art is through calligraphic brushwork while providing new visual effects for imaginative mixed-media watercolor and abstract mixed-media printmaking.

Authors:
Xiao Feng, University of Wales Trinity Saint David, United Kingdom

About the Presenter(s)
Ms Xiao Feng is a University Doctoral Student at University of Wales Trinity Saint David in United Kingdom

See this presentation on the full schedule – On Demand Schedule

Bookmark