Archive for November, 2015

T1-MMT-P4-p1-e4 Working with stencils (mostly)

Sample p2-61

Sample p2-61
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Sketch 2015121

Sketch 2015121
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This exercise calls for working with stencils, requiring a simplified shape with no surface detail. I chose the jug previously involved in a series of wrapping experiments (22-July-2015). I traced the outline of a photograph using gimp, adjusting the handle shape to avoid an internal space.

I printed the result a number of times on copy paper, and cut out the jug shape – initially using a scalpel, then one version carefully torn.

All prints in this series were on white A4 copy paper.

Print p4-68

Print p4-68 layer 1

Print p4-68 layer 1
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First I printed in a red mix of akua intaglio inks. The copy paper with a void jug shape was placed over the plate, then a print taken. The print is fine in that the shape is recognisable and there were no issues with tearing on the finer sections of the design. It is very static, and there is a problem in placement that is not apparent in the cropped process image.

To create a second layer I inked the cleaned plate in blue, and used the cut-out jug shape as a mask over the red already printed. Getting the mask and the paper in the right position was tricky!

Print p4-68

Print p4-68

The full image shows the poor placement of the jug in my original stencil preparation, much too high on the page.

I deliberately rolled a solid base of blue for the jug to “sit” on, thinking back to issues with my still-life attempt in print p4-44 (11-November-2015), with light and broken colour in the top two thirds of the page. I think the idea is sound, but the high jug just floats in this attempt.

When printing I pressed through the paper by hand, trying to ensure good transfer of colour around the edges of the stencil. The gap is uneven, suggesting inaccurate placement of the stencil, but there is no actual overlap. Perhaps with crisp, dry paper there isn’t the stretch needed to bend into the corner formed by the thin paper stencil.

Overall this is not satisfactory as a print, but I find some good technical pointers.

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Print p4-69

Print p4-69 layer 1

Print p4-69 layer 1
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This is the ghost of the previous print. The dark outline is the inverse of that little gap around the edge of the stencil. There is not much difference in the colour in the jug shape or the surrounds. Red in the jug area already printed on print p4-68. Red in the surrounds printed onto the paper stencil. Given I used similar pressure over the page as a whole in the initial print, the remainder left for the ghost is similar.

This observation suggests two possibilities – experimenting with the thickness of the stencil material and the resulting gap, distortions etc; and varying pressure in the initial print. There is no need for colour on the stencil, so perhaps I can try to leave more, at least in parts, available to the ghost.

Print p4-69 detail

Print p4-69 detail

Print p4-69

Print p4-69
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It’s not surprising given the reasoning above that the blue ghost is very similar to the red – a strong outline of the stencil shape and similar light colour from both the printed and the masked areas. Registration was slightly off, giving the doubled edge effect. If it was perfect there would be a single purple line. I find the offset more interesting.

There is the same high placement issue with the jug on the page.

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Print p4-70

Print p4-70 layer 1

Print p4-70 layer 1
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Wanting to avoid the placement problem I started this print with the background first. Once again the ink was varied on the plate. In the top two thirds the ink was rolled more thinly and unevenly to create broken colour. Ink was heavier across the bottom third.

When printing I used back drawing to create some broad, flowing wave lines in the bottom third. This was based on my experience with the plastic grouting tools in print p4-66 (21-November-2015). Their flexible plastic was easy to move smoothly across the paper. I dug out a small plastic tool, I think originally sold to help transfer ointments between small pots. Re-purposed, it flexed rather than jerked as the line changed direction. I created three dark lines, then peeked and found them too crisp and stark, so used the stencil brush to get some lighter shading between the lines.

For the second layer, adding colour to the jug, I placed the stencil underneath the plastic printing plate and rolled colour only where needed. Full disclosure – on the first attempt I had the stencil the wrong way around, so had to clean off and re-ink.

To generate more interest I wanted two colours in the jug, and to keep the handle a single colour. Placing the stencil with the jug cut-out on the inked areas of the plate was straight-forward. Putting the print paper down on the plate was once again awkward, but reasonably accurate.

Print p4-70

Print p4-70

I find more to like than to dislike in the final print.

I was successful in correcting the jug placement, although the masks used still had the original problem.
My new tool gave the broad wavy line I’ve been looking for.
Pressing around the stencil by hand in the blue layer gave a darker edge which suggests a shadow and gives just a little depth.
The blending of colours on the jug work, and I particularly like the transition which is quite smooth and not muddy.

Print p4-70 detail

Print p4-70 detail

It’s not a print I would frame and hang, but for once I feel encouraged by my progress.

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Print p4-71

Print p4-71 layer 1

Print p4-71 layer 1
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This is the ghost of the previous print. The first layer shows the impact of the back drawing combined with the masking. I think in drawing the wavy lines I must have used uneven pressure on the jug stencil area. This has left some uneven ink near the base of the jug, which I rather like as suggesting thicker glass at the base.
Print p4-71

Print p4-71

Print p4-71 detail

Print p4-71 detail
Click image for larger view

As a result of varying placement of the masks, plus multi-coloured, uneven and incomplete inking of the plate on the second layer, there is a lot of variation in the ghost. Registration could be seen as technically poor, but as mentioned above I like this effect in the ghost and see little value in perfect registration in these matched mask ghosts.

The result is a much more dynamic and interesting print. There is variation in line, colour and value. The jug outline is still central and the blue outline static, but the lighter line in red and green creates movement. The central area of focus is reinforced by the additional colouring. When transferring the jug colours in the previous print pressure was focused on the jug area. In the ghost the jug is lighter than its surrounds, allowing it to stand in front of a slightly darker background.

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Print p4-72
Pleased with the success of my new plastic tool, I wanted to be able to vary the width of my broad lines. I cut a strip from an old plastic membership card, and slightly rounded the corners to avoid a catch point.
Following up the blended colour of the previous prints, I rolled the plate with a combination of the blue, red and green that were on the work area.
I am in the process of researching Paul Klee’s traced prints, and this quick, spontaneous back drawn print shows a slight influence of that.

Print p4-72

Print p4-72

Print p4-72 detail

Print p4-72 detail
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The lines created with my new tool, the whole genesis of this print, can be seen in the lower right corner. The jagged lines on the left used a fine-toothed grouting tool. Birds and bird-house were drawn with a metal skewer – I feel it gave a firmer, finer line than the wooden tools I have tried previously. The clouds were finger-pressed.

As an image it doesn’t quite work. I think you can see I started by experimenting with tools then felt I had to fill some gaps with something. So the composition is clumsy and two of my baby birds seem to be tumbling to the ground.

Still, I like the variation in colour. It gives a simple scene some vitality. I like the variation in lines and texture. The process was free and fun and I think the energy shows.

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Print p4-73
This is the ghost of the previous print.

Print p4-73

Print p4-73

Print p4-73 detail

Print p4-73 detail
Click image for larger view

The colours look fine. The overall composition has similar strengths and weaknesses. The white lines just don’t work for me.

I wonder if this is a candidate for re-working with pen. I could add some extra details, perhaps vary the line or colours. I’m not currently enthused but may come back to it.

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Print p4-74
The earlier jug masks were cut with a scalpel with a clean, smooth line. Thinking back to the tearing exercises of assignment 1 (see for example 26-April-2015), I wondered what impact torn edges would have in a stencil. In this print I used a red background, again with uneven colour. The jug was blue and green still on the work area, mixed on the plate.

Print p4-74

Print p4-74

The registration is quite good. I’d started to take advantage of the see-through print plate, placing it onto the paper and then turning the bundle over to press. The colour mixing is dull and the uneven line isn’t effective to suggest the smooth glass jug. The jug and background colours are too close in value, making the result very flat.

However I feel the line itself has a lot of interest and character – it’s just not suitable for this application. I am mindful of the exhibition of Julie Paterson’s work seen earlier this year (13-September-2015). Paterson frequently uses torn or cut paper stencils with screen printing as part of her design process. I think it could be very productive to use some of my assignment one samples as stencils in print-making.

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Print p4-75

Print p4-75

Print p4-75


The ghost of the previous print. With all its imperfections, it excites me.
Print p4-75 detail

Print p4-75 detail

Print p4-75 wider view

Print p4-75 wider view
Click image for larger view

Here the uneven line, wobbly and provisional, comes into its own. It sits hesitantly on the page, blurred, inconsistent. The two layers are far from aligned, creating a visual vibration. They fill the space well. I struggle to focus, to see what is there, and pick up details that don’t fit together.

I’ve included a thumbnail of the whole page – full disclosure of my messy work. The red lines at the bottom are annoying, but I like the breakout of blue on the right margin. This is a force that is going somewhere.

I can quite understand people seeing this as a messy nothing, a failure. But it speaks to my interest in boundaries, in open possibilities and uncertainty. It isn’t flat. It can’t be taken in at a glance. It has personality.

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Having done the basic monotype exercises I now have the opportunity to mix them up and take my printing explorations a bit further.

  • The course notes suggest looking at Paul Klee, using blocks of colour and quirky back drawing (a touch of that above).
  • I could use some of the assignment 1 samples as stencils, working in a more fluid and spontaneous way.
  • I’ve read up on gell printing plates, and also a home-made version using jelly and glycerin. It seems to support a more textured, informal, layered approach and could be an interesting contrast to the hard plate and surfaces I’ve been using.
  • I’d like to take my jug motif further. There are some interesting surface designs on the original, which could be used as a basis for back drawing and stencil combinations.
  • These aren’t all mutually exclusive. I’ve made working through the exercises, ticking the boxes, a laborious process. I’m hoping to find a mix which makes monotype printing work for me.

    T1-MMT-P4-p1-e4 Working with stencils (mostly)
    Part 4: Mono and collatype printing
    Project 1: Monoprinting
    Exercise 4: Working with stencils
    Working with stencils (mostly)

    T1-MMT-P4-p1-e3 Back drawing continued

    Print p4-62

    Sample p2-73

    Sample p2-73
    Click image for larger view

    The plan:

  • Continue using printmaking as a way of exploring other work – in this case wrapping sample p2-73 (28-July-2015)
  • Multiple layers with improved registration
  • Use varied mark-making to express the different materials in the original sample
  • Use lighter paper – in this case 80 gsm copy paper (thanks to Karen for that suggestion)
  • Print p4-62 layer 1

    Print p4-62 layer 1
    Click image for larger view

    Layer 1 shows the ribbon. I mixed just a little violet into the yellow rolled onto the plate. Colour was transferred pressing with my finger for a broad and soft line. Wanting a little more definition I also used a tapered colour shaper.

    Print p4-62 layer 2

    Print p4-62 layer 2
    Click image for larger view

    Layer 2 represents the wide, flat cable wound around in the sample. Attempting with a variety of wooden shaping tools, I couldn’t get the broad, smoothly flowing line I intended. My experiments with different tools held at different angles are jagged and jarring.

    Print p4-62 layer 2 a

    Print p4-62 layer 2 a
    Click image for larger view

    I took the ghost print (see next print), then used the plate one more time. The idea was to bring the image together, reducing that jumble-of-lines effect.

    As well as lightly rolling all over with a brayer, I used my finger to give some shading to the yellow of layer 1. While I think the print as a whole was improved, the multiple peeks and replacing of paper and plate has led to registration issues.

    The final layer was violet, in fine, sharp, jagged lines to represent the black synthetic horsehair in the sample. It still looked very stark, so I added some extra shading along the original ribbon lines by soft pressing with my finger.

    Print p4-62 detail

    Print p4-62 detail

    Print p4-62

    Print p4-62
    Click image for larger view

    My various interventions improved but did not save the print. That red line is too messy, too plonked ungracefully in the middle. Looking back at print p4-61 (14-November-2015) I should have expected this.

    Looking at positives, I like the way the ink sits on the copy paper. The crisp white brings light to the colours and the smooth surface in some way allows the print itself to have more depth. At the detail level the shading with finger-pressed red is attractive without being intrusive.

    Reflecting now, I wonder if I’d get a better result using more of a green in layer 1, providing a balance to the red. I could also reduce the amount of red, making it a point of interest in just one corner of the image. I’ll park that idea for now, as it might be more appropriate later when I combine monotype techniques.
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    Print p4-63

    Print p4-63 layer 1

    Print p4-63 layer 1
    Click image for larger view

    Print p4-63 layer 2

    Print p4-63 layer 2
    Click image for larger view

    Print p4-63 layer 3

    Print p4-63 layer 3
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    This print is the layers of ghost prints from p4-62, printed onto 100 gsm white cartridge paper. On layer 1 I used a brayer first, then followed with the baren to get some extra colour. I was using 100% akua intaglio ink, no extender and no blender added, to get colour as rich as possible and to reduce accidental transfer during back drawing.

    The second layer, in red, looks much less clumsy in the ghost print. Partly the colour isn’t as strong and solid, but I think also the layering with larger areas of yellow underneath is more interesting.

    However with the addition of the third layer I was less satisfied. Perhaps the print could provide an interesting background to something, but the overall effect was indistinct and dull. I attempted to add at least a little interest by doing some more backdrawing and varied pressure using palm and fingers without adding any extra ink to the plate.

    Print p4-63

    Print p4-63

    Many of my prints seem to end as overall vague patterning – dull. The process did lead me to some close observation of the original joining sample, so it is effective in that sense.
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    Print p4-64
    Print p4-23

    Print p4-23
    Click image for larger view

    I refined my plan for the next two prints:

  • Even lighter paper – a japanese rice paper.
  • Using a previous print as my source material. This is print p4-23 (25-October-2015). In my original post I noted that the detail in this print was easy to overlook, dominated by the major line. Could I see something new by creating a print interpretation of the print?
  • Varied mark-making would remain key
  • Print p4-64 layer 1

    Print p4-64 layer 1
    Click image for larger view

    There was still just a little violet left on the plate from the previous print. I decided to use this to create the first layer. This didn’t provide a lot of colour, but gave some texture and variation to the print area.

    The second layer was yellow. In previous prints virtually all my mark-making was blind. The tools I used might slightly emboss the back of the paper but none left a drawn mark so placement or repeats of line were very approximate. This time I drew a rough line first on scrap paper, then traced over that while back drawing. The initial line was traced with the wrong end of a paint brush, sometimes backtracking and repeating when I accidentally left the line.

    Print p4-64 layer 2

    Print p4-64 layer 2
    Click image for larger view

    Peeking, I like the stranded effect so I repeated the tracing multiple times to build up a network of marks. The photos I take while working are on my tablet and in awkward lighting so not great quality, but below you may get a sense of what was interesting me.
    Print p4-64 layer 2 detail

    Print p4-64 layer 2 detail


    The next layer was a red-violet mix. I wanted to surround the network of yellow with more solid lines of colour.

    I tried a number of wooden shaping tools but couldn’t get the width and solidity I wanted. There are areas of back and forward scribble, of little overlapping loops, of finger nails, skewers, chopsticks… The outlines looked awful, so in a flurry I started scribbling down the centres and lost my lovely yellow network.

    Print p4-64 detail

    Print p4-64 detail

    Print p4-64

    Print p4-64
    Click image for larger view

    The lines were looking very messy and stark. I used a stencil brush, tapping over and near the lines. I really like the light mottling effect this created, and it’s a technique I am likely to use again.

    Working on the light paper was helpful, as after a time I could see the overall lines through the paper. However the paper really needs a backing to bring more light and give a clear view of the marks.

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    Print p4-65

    Print p4-65 detail

    Print p4-65 detail

    Print p4-65

    Print p4-65
    Click image for larger view

    This is the ghost of the previous print, and is also on rice paper. While still not a great result I prefer this print.

    The darker background gives a better sense of presence on the light paper. The complexity of the network of lines is clearer and unified, being a mix of yellow (the gaps in the lines of the previous print) and white.

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    Print p4-66
    Wanting to experiment with printing on a more distinct background, I chose a page from an old harmonica instruction manual.

    Print p4-66 layer 1

    Print p4-66 layer 1
    Click image for larger view

    Responding to the strong repeated lines, I used plastic grouting tools of varying sizes to create my marks – one of the tools can be seen in the bottom corner of the photograph.

    I’ve read a number of times that it’s best to start with a light colour, and I realise on reflection that I have accepted this as a given rather than experimenting. However in this case I mixed red into the yellow which makes it visually stronger, although still quite transparent. I think the old, dense, soft and absorbent paper could be a factor, plus the stiff but flexible plastic was easy to drag across the page with a quite heavy pressure. Perhaps I can make a tool that would assist with broad flowing lines, like the ones I wanted in print p4-62 layer 2.

    Print p4-66 layer 2

    Print p4-66 layer 2
    Click image for larger view

    In the second layer I used narrower notches and the red which has caused issues by dominating some earlier prints. It was rolled slightly thinner on the plate plus the overall pattern of lines doesn’t pull the eye in the same way. In addition the strong music print on the original page remains the main interest.

    The registration on this layer is particularly poor. Although nominated as a focus for the work session my results have not improved. When drawing up a template on gridded paper I confirmed that my original plastic plate was not a true rectangle – not all corners were square or sides straight. I tend to lose focus and get a bit messy as a work session progresses, and finally printing is unforgiving – a careless moment and the result is changed.

    Print p4-66 layer 3

    Print p4-66 layer 3
    Click image for larger view

    The third layer, in a red-violet mix, is an example. From my sequence of photographs I can identify when that unintended mark top right appeared. However I have no idea what happened. One response would be to push for heightened awareness, to cut new plates, make new templates. I would prefer to move towards more spontaneous, forgiving methods, where accidents are opportunities and not ruination. Through these exercises I admire good print-making, craftsmanship as well as composition etc, much more. But I don’t aspire to it. I would prefer to find methods that fit more naturally with my own style, that I can turn to my own purposes.

    Print p4-66 preparation

    Print p4-66 preparation
    Click image for larger view

    I had intended a fourth layer, darker again, in finer lines. At this point I decided that would be counter-productive. Some focus was needed. Wanting to link to the original material on the paper, I did a quick sketch of a woman playing a harmonica, based on a photograph in the harmonica manual. You can see I worked on the same page used during print p4-64. I traced over this to create the final layer.
    Print p4-66

    Print p4-66

    The drawn lines are lost in the final print. There is too much going on, the page is messy, and I really needed to make a better sized plate that worked with the original page layout. Cropping around the printed area is more satisfactory, removing distractions and focusing the eye.

    Print p4-66 detail

    Print p4-66 detail

    I like the mixing of colour at the detail level, although I don’t think anyone could tell that the dark area over the lower face is cupped hands around an harmonica.

    Printing on old book pages has many possibilities. This paper was nice to work on, and there could be many books with more interesting layouts.

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    Print p4-67
    The final print is the ghost layers of p4-66, printed on rice paper.


    The build up of colour is attractive if not exciting. Perhaps using different colours it could suggest something like crocodile skin.
    Print p4-67

    Print p4-67

    The final print is … bland, odd. No major highs or lows.

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    On some level I scored on a number of my goals for this work session.

  • Working from both a three dimensional sample and a previous print, I was able to observe them more closely, to consider form, colour, contrasts of materials and textures.
  • Registration of layers didn’t improve, but my attitude to it has refined. I would like to have more control, so that when I break “rules” it is clearly a deliberate, considered choice rather than a sloppy accident. However precise, controlled, refined print-making is not my end goal. Where appropriate I will attempt to improve my techniques, but that remains a subsidiary task.
  • I introduced a number of new tools for mark-making. The stencil brush and my own hands and fingers hold a lot of promise. I also have some ideas for making a tool that helps with broad, more flowing lines.
  • Copy paper and rice paper provided interesting results and I’d like to continue with both. Old books could be a wonderful resource, although I find it a wrench to destroy any book, no matter the content or how many decades it has languished on a shelf.
  • None of the final images excite me. Working through the exercises has given me some base techniques, but I think benefit will come with more experience and also with mixing techniques – starting with an idea and question and choosing one or more techniques, rather than being technique based. On my original schedule I planned to submit this assignment on 21 December. However my tutor will be taking a break over the Christmas / New Year period. I’ve decided to continue with the exercises at my planned pace, but take some extra time at the end to mix things up.

    T1-MMT-P4-p1-e3 Back drawing continued
    Part 4: Mono and collatype printing
    Project 1: Monoprinting
    Exercise 3: Back drawing
    Back drawing continued

    T1-MMT-P4-p1-e3 Initial back drawing

    Print p4-20

    Print p4-20
    Click image for larger view

    Back drawing or trace monotypes involve rolling the print plate with ink, placing paper on it, then pressing on the back of the page to transfer some ink on the front. I was excited about the potential in my search for energetic lines, but apprehensive given the accidental creation of print p4-20 (25-October-2015). In that I had intended to protect the inked plate with a piece of newprint placed on gently, but virtually all the ink transferred with no additional pressure.

    All the prints shown below were on white A4 110 gsm cartrige paper (with one exception), using akua intaglio inks, a 15 x 24 cm print plate (cut from a sheet meant for drypoint etching), a chopstick as drawing tool and a baren for the ghost prints.

    Print p4-52

    Sketch 20141114

    Sketch 20141114
    Click image for larger view

    My focus drawing was a brush and ink sketch done last year, not previously blogged. I did a number of “absolute beginner” workshops with Brenda Tye at the Art Gallery of NSW last year – pastels, coloured pencils, ink and watercolour. This sketch is based on some inspiration photocopies provided by Brenda, but I don’t have an attribution. Given the proportions of my plate I focused on the figure on the left hand side.

    My ink mix was similar to the last couple of prints – around 50/50 ink and extender, quite a lot of blender added, thoroughly mixed.

    Print p4-52

    Print p4-52

    The paper quickly soaked up the ink where-ever it touched. Looking very carefully a few lines can be distinguished, marginally more solid than the heavy mottling around them.

    Referring back to the akua website, I should have used the ink thicker, with no blender.

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    Print p4-53

    Print p4-53

    Print p4-53

    The next attempt used around 70/30 ink to extender, with no blender.
    Once again there was very heavy transfer of ink even in areas with no pressure used – and I was extremely careful not to touch or rest my hand on the paper where it was over the plate. The paper lifted and shifted slightly at the beginning, so I held it down on the left edge.
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    Print p4-54
    Perhaps it was the cartridge paper, too absorbent. I quickly did some backdrawing using dry stonehenge paper on the ink left on the glass rolling area.
    Print p4-54

    Print p4-54

    I tried to work very quickly, allowing no time for accidental absorption. There is a lot more variation in tone, but still a lot of unintentional transfer.

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    Print p4-55
    Perhaps the ink needed to be thicker. Looking to what I had at hand, I used akua tack thickener, which is intended to thicken akua liquid pigment rather than the intaglio inks I have. There is a “modifier mag mix” product available which would be more appropriate. Still, wanting heavier roll-up it seemed worth a try. The tack thickener was like runny honey and slightly loosened the ink if anything.

    Print p4-55

    Print p4-55

    The result is paler than seen here, but there is a glimmer of hope. The lines are clearer, there is variation in tone. There is still too much unintentional transfer, but it is reduced. The lines I can see look wonderful and free.

    Interestingly, I had mixed and used much less ink than usual. I have been trying to roll very thin layers of ink on the plate, but lots of thin layers trying to build a depth of colour. Was I using too much ink? Also perhaps the border lines I was drawing pressed the entire page down too much.

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    Print p4-56
    This print introduced two changes. First much less ink on the plate – still thin layers, but fewer of them, a mix of intaglio ink and extender with no modifiers.

    Secondly I omitted the border framing lines. Still wanting to fill space, I added wing effects to my figure. I tried to work quickly and not too densely.

    Print p4-56

    Print p4-56

    Print p4-56 detail

    Print p4-56 detail
    Click image for larger view

    I was, and remain, excited by this print. It is still patchy, the effect is totally uncontrolled, but there is variation in tone, a fine and energetic line, and I like the way my motif fits on the page.

    There is additional transfer of ink where lines run closely together, but perhaps with care and experience this could be used to positive effect.

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    Print p4-57
    I took the ghost print using the bamboo baren.

    Print p4-57

    Print p4-57

    There was still a lot of ink on the plate after the initial print. Although the colour isn’t solid I think for my purposes the lightly mottled effect works. There is a clear, fine, white line where the back drawing was done, with a rather blotchy effect in the areas of unintentional transfer.

    I would like to have a bit more control of tone overall to add to the interest of the image, but I’m happy with the consistent, energetic, fine lines. The figure (if you perceive it as that) is solid, still, but not static.

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    Print p4-58
    Next I introduced more colour, rolling in bands of red and blue across the plate. I turned it to a horizontal format, and as inspiration turned to the middle group of figures in my initial brush and ink sketch.

    I was interrupted at this point, and it was wonderful to realise how keen I was to get back to work now the initial frustrations seemed resolved and I could move on from technical issues to a wider exploration.

    Print p4-58 detail

    Print p4-58 detail

    Print p4-58

    Print p4-58
    Click image for larger view

    The image is quite unbalanced. I actually like it better upside down but have left the photograph in this orientation as a reminder to myself that a little more consideration and less spontaneity could be worthwhile.

    There are some areas of line that are light and varied, almost springy. I need to move beyond my trusty chopstick. There is very little accidental transfer away from the drawn lines. Lighter, faster rolling, fewer layers and not overworking in an attempt to get a totally even distribution is working well for me.

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    Print p4-59

    Print p4-59

    Print p4-59

    The ghost print, taken with the baren. The lines, the placement and filling of the page, the blending of the lines of colour all work well. The slight diagonals give movement without sliding off the page.

    I see three ladies knitting and chatting as they bob on their raft in the evening light, but I’m open to other interpretations.

    I’ve been cropping the images to show more detail, so it’s not apparent how crooked the printed area is on the page. When I was just trying to get an image I liked that seemed unimportant, but a little more care and craftsmanship is called for.

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    Print p4-60

    Sample p3-33

    Sample p3-33
    Click image for larger view

    It was time to use printmaking as a tool in developing my work. I brought out sample p3-33 (14-September-2015) as my sketch subject.

    I was thinking of layers in a few different ways. One was the exciting layered prints OCA student Claire achieved recently in a workshop with Gary Shinfield (her post). I’m very interested in the process of going from a sketch to overlaying different sections to create an abstract but coherent work.

    I was also intrigued by a comment Lottie, another OCA student, left about sculpting with time in a print “Layers of time on the glass plate” (her comment here, her blog here). Added to this was the exploration of space by Braque, whose work I studied during Understanding Western Art (9-February-2014). Even more, there is Duchamp’s study of gravity and the indeterminate nature of things in 3 Standard Stoppages, which could also be seen as a layering of time (14-December-2014).

    Print p4-60 layer 1

    Print p4-60 layer 1
    Click image for larger view

    A jumble of influences, but I decided to make two prints each of three layers, first yellow then red then blue. Rather than one page being three initial prints and the second three ghost prints I would mix them up. Each layer would be a line sketch based on the resin sample, but from different angles and different scales.

    Print p4-60 detail

    Print p4-60 detail

    Print p4-60

    Print p4-60
    Click image for larger view

    This print had the initial yellow line, the ghost of the red (I forgot to take a progress shot) and the final blue line.

    The is complex interaction of line and colour. It’s not quite right as a complete image. There’s a lot of noise and no coherence. As a tool for re-seeing and further understanding the original sample it was very effective. I also think there are multiple areas that could be isolated and used as the basis of further design development. The process was purposeful and exciting. I like the way lines fit and sometimes go beyond the print area. As a record of a process, an overlaid series of times and points of view, I find this very interesting.

    I placed the print plate and paper by eye and there is clear mis-registration of the layers. In one sense I don’t mind this, but it’s a distraction and complication that doesn’t add anything to the result.

    break

    Print p4-61

    Print p4-61 layer 2

    Print p4-61 layer 2
    Click image for larger view

    This detail shows the first two layers of the sibling print. I really like those lines. To me they have purpose, tension, a spring and point of view, bursting out of the print area as they try to describe the form of the resin “elephant”.

    Print p4-61

    Print p4-61

    Print p4-61 detail

    Print p4-61 detail
    Click image for larger view

    The third layer confuses the image. The registration issues are very obvious.

    My perception of depth is confused by this print in a way that I find slightly unsettling and unpleasant but intriguing. The red line seems to push forward – mostly. I would expect the mixed green to move backwards but instead the bottom yellow seems to be clambering forward over the overlaid blue. It doesn’t work, but I keep looking at it trying to understand it.
    break
    Thoughts for the next set of experiments:
    * set up a registration system
    * try different tools, different marks
    * attempt to shade by pressing areas by hand
    * I love working freely – drawing directly on the paper without being able to see the line or the edges of the plate is exciting. However I should attempt a more planned, controlled effect and see what it gives me.
    * different papers
    * different plates – what happens if the plate has texture?
    * layering / combining with other monotype methods.

    T1-MMT-P4-p1-e3 Initial back drawing
    Part 4: Mono and collatype printing
    Project 1: Monoprinting
    Exercise 3: Back drawing
    Initial back drawing

    T1-MMT-P4-p1-e2 Drawing onto the printing plate continued

    Print p4-42

    sketch_20150914 b

    sketch_20150914 b
    Click image for larger view

    My initial attempts in drawing onto the printing plate (3-November-2015) involved areas of texture. Next I wanted to attempt lively lines, and chose as my inspiration an energetic and colourful sketch of a computer motherboard from assignment 3 (14-September-2015). That sketch began with a lively background including rough patches of gesso on kraft paper. The akua printing inks I’m using don’t contain dryers and need to be absorbed. Uncertain whether gesso would absorb, I decided to prepare 118gsm grey sketch paper with broad sweeps of light coloured conte crayon.

    I tried to adjust the consistency of the inks using akua blending medium, but wasn’t able to find a consistency and a drawing tool which supported the fast, lively lines I wanted. Nothing I tried held ink and released it in an ongoing line. Slow careful dabs with constant return to the ink pool was frustrating. Disappointed with a line from a cotton bud, I experimented by winding wool fibres around the end of a bamboo skewer – a little like beginning to spin. This held a bit more ink in a fairly fine line and was the best of a bad bunch.

    The print was taken on dry paper using the Ezicut press.

    Print p4-42 detail

    Print p4-42 detail

    Print p4-42

    Print p4-42
    Click image for larger view

    The ink appears to have adhered quite well and been absorbed by both the paper and the prepared colour. At the detail level there is some interaction between the media which may hold promise. I also like the movement and complexity in the green and blue-purple lines created using the edges of a paddlepop stick and credit card. The little red tadpole shown bottom right of the detail image also has some energy and variety.

    The use of the conte crayon holds promise too. It’s a kind of reversal of Degas’s drawing over monoprints, which is of passing interest and suggests further layering possibilities.

    The print as a whole is dull and static, fragmented and without a sense of purpose.

    break

    Print p4-43

    Print p4-43

    Print p4-43

    Print p4-43 detail

    Print p4-43 detail
    Click image for larger view

    This next print is very similar to the previous one, but the paper was sprayed with water before the print was taken. In planning I wondered if this would affect the interaction of conte crayon and printing ink.

    I experimented further with various amounts of wool on the skewer and did feel it was giving some control and a little better continuity in the lines. Printing on damp paper had the unfortunate effect of spreading my lines, losing the fluid movement I wanted. The conte crayon seems a bit more solid and less likely to rub off. The detail image highlights some colour mixing which I think is the best feature of an uninspiring result.

    break

    Print p4-44

    Print p4-44 detail 1

    Print p4-44 detail 1

    20140120 poster

    20140120 poster
    Click image for larger view

    Print p4-44

    Print p4-44
    Click image for larger view

    Print p4-44 detail 2

    Print p4-44 detail 2
    Click image for larger view

    For this print I chose to revisit a still-life composition that I attempted in a variety of media during the Understanding Western Art module (link).

    Incorporating techniques from exercise 1, I started by rolling stripes of colour over the entire area. Most of the other prints shown in this post are on A4 paper. This is A3 sized, working on the glass sheet (previously the top of a coffee table) that I use for preparing inks. Texture was created in the background by pressing a piece of hessian into the surface to lift some ink. Further texture came accidentally from loose fibres of wool left from my earlier experiments.

    The area that would be the bowl was then wiped entirely, while the bottle area was dabbed and scrapped for partial removal of ink. I wiped around the edges to neaten them and took the print on white cartridge paper using the bamboo baren.

    Next I added ink onto the plate, brushing on the bowl, brushing and scraping the bottle, and dabbing shadows. I realised I’d lost the depth and sense of a table top in the initial print, so added some dabbed shading to try to rescue that. I hadn’t set up any registration lines, but wasn’t too far off replacing the paper and printing the second layer.

    The overall result is clumsy and flat. I had a lot of trouble with the shoulders of the bottle. However I am happy with the screw-top of the bottle and the shadow behind it, seen in the detail image above. The mix of textures and colours works well.

    Simplified blocks of colour on the bowl, applied with a paint brush, have printed poorly but I think show potential for a strong, graphic approach. Unfortunately the overall coverage of ink is patchy and light, not at all what I wanted. The colour is insipid. The image seems lost between graphic, flat simplification and a more realistic depth, not achieving either. At this stage I was not enjoying printing at all.

    break
    Print p4-45

    Print p4-45

    Print p4-45

    Felt tip pens, sample p2-76

    Felt tip pens, sample p2-76
    Click image for larger view

    Print p4-45 preparation

    Print p4-45 preparation
    Click image for larger view

    Print p4-45 partial transfer

    Print p4-45 partial transfer
    Click image for larger view

    Print p4-45 detail

    Print p4-45 detail
    Click image for larger view

    Next I chose another earlier sketch, this time from assignment 2 (3-August-2015), a felt tip pen interpretation of sample p2-76. This time the idea was to print using media that is good at lines – water-soluble crayon – together with printing inks that are good at areas.

    I drew the outline on the plate in crayon, and it was wonderfully freeing to just draw!
    It felt fresh and spontaneous and energetic – favourite words!

    I rolled and drew on printing inks using a mixture of tools, focused on movement and no longer looking for fine lines. Some of the ink went on quite thickly. When I printed onto damp paper (using the ezicut press), it lifted off with a squelch and a lot of texture – but no trace of my crayon lines.

    That’s not quite true – there are the faintest marks swirling on the top of the box and in the top plumes. Maybe. I’d only sprayed the white cartridge paper, and perhaps it wasn’t damp enough.

    Although not at all to plan, I quite like the result. Energy, texture, movement are all good. Although solid and centred there is a lot happening and it looks about to become airborne. The complementary colours with lots of neutral grey and white around them burst from the page. Being released from my hunt for fine lines freed me to create loose areas of rich colour.

    break
    Print p4-46

    Print p4-46 detail

    Print p4-46 detail

    Print p4-46

    Print p4-46
    Click image for larger view

    I still wanted those crayon lines. Without cleaning the plate I added more printing ink on top, mostly using brushes. I sprayed the paper more heavily, used the buren and then the press.

    The plume looks good, lines have transferred and there’s a sense of fireworks in part. However look what happened top left of the box – spreading, dissolving lines of crayon. Too much water this time, I think.

    Overall I see print p4-45 as more successful – even though further from my original goal.

    break
    Print p4-47

    Print p4-47 in progress

    Print p4-47 in progress

    Print p4-47

    Print p4-47
    Click image for larger view

    One more try with the crayon and ink idea. Perhaps putting ink on top of the crayon blocked the moisture and therefore printing of my lines.

    I rolled ink onto the plate in rough areas, then tried to add crayon. The crayon just skidded over the surface of the plate and ink. So I decided to split the process into two printings. I printed on dry paper with baren, with the result photographed above.

    Next I drew in more crayon on the unwiped plate. There was still some skidding, but dabbing with paper towels helped. I sprayed the front of the same piece of paper and printed with the baren.

    This is the least successful of this series of three attempts. The plume at the top doesn’t have enough space and it doesn’t have enough volume with just the lines and no areas of ink. On the other hand the slowly refined mixed media technique is improving.

    Overall I think this isn’t the right approach for the expressive lines I was seeking. Backdrawing in the next exercise could be a better approach.

    break
    Print p4-48

    Print p4-48

    Print p4-48

    Print p4-48 in progress

    Print p4-48 in progress
    Click image for larger view

    Refocusing on the idea of printing as a background or one step of a longer process, I experimented with creating a textured, layered background.

    The plate was rolled with blue, green and brown, both flat and with pieces of bracken underneath, achieving a mottled effect with traces of organic shapes. It was printed onto damp cartridge paper with the bamboo baren.

    I then rolled colour onto the fresh plant material and stamped directly onto the page.

    While ultimately it would depend on the specific purpose, the result looks too complex to provide a good background. It also looks familiar, something I’ve done in the past.

    break
    Print p4-49

    Print p4-49 detail

    Print p4-49 detail

    Print p4-49

    Print p4-49
    Click image for larger view

    The previous print resulted in a lot of pattern in ink on my large glass work area. I printed this on a piece of rice paper, 30 x 27 cm, repeatedly laying the paper on the inked glass and pressing gently.

    I then made one more attempt at a simple drawing onto the printing plate – in this instance a cleaned area of the glass with the dimensions of the paper quickly marked on.

    Using akua ink, blending medium and extender, I mixed carefully, taking the time to make a flowing ink with all components as fully integrated as I could manage. I painted on the plate using bristle paint brushes, sketching the bracken which grows by the door, making marks that came naturally from the ink and brush, responding to my materials rather than trying to force them down a pre-determined path.

    It became an involving, much less frustrating, process. The printed result, made using the baren, has variety and interest without a strong image. I think it could be used as a background or embellished to emphasize certain lines or features. Painting more flowing lines wriggling back and forward for leaves, the mixed ink flowed well.

    break
    Print p4-50

    Print p4-50

    Print p4-50

    sketch 20131107

    sketch 20131107
    Click image for larger view

    Print p4-50 detail

    Print p4-50 detail
    Click image for larger view

    For my final source I turned again to a sketch done during Understanding Art (link), looking at a jacaranda, thinking about patterning, and experimenting with colour.

    I again started by drawing lines on the plate with water soluble crayon, more as a base structure than a dominant part of the final image. I dabbed on blue across the top as a sky and rolled greens below which I textured with a bristle brush. I then mixed around four shades based on violet with added blue and red. These were stamped, brushed and dabbed over the plate.

    Wanting to give the crayon a good opportunity to print, I used damp stonehenge paper – soaked in water for 10 minutes then blotted dry in a towel. I printed using the ezicut press, which generally I’ve found gets more colour from the plate.

    Knowing my process, I can see elements of all that mark-making in the result. There are arcs of crayon across the page, heavily covered by the inks. The blue and green create some subtle texture and variation across the page. The blossom colours are all very similar and too dark and purple for jacaranda, but the placement with varying density across the page reminds me of looking into a blooming jacaranda tree.

    As an image the print has no focus and nothing to lead the eye or provide ongoing interest. There is depth and texture and variety which I think could be very useful as one input to a work.

    break
    Print p4-51

    Print p4-51 detail

    Print p4-51 detail

    Print p4-51

    Print p4-51
    Click image for larger view

    Using another piece of damp stonehenge paper and the ezicut press, I captured the ghost of the previous print. The result is a much gentler version of the previous mottling, with more obvious variation in colour across the plate. I think this could be a good candidate for overprinting in the next exercise, back drawing.

    break

    I did the work shown above over a few days last weekend and while also writing my previous post reflecting on tutor feedback. Reviewing the results above I’m beginning to feel myself again. I’ve experimented with technique, not to create a good print but to get an effect I wanted. When the result is unexpected I’ve tried to find opportunities in it. “What if” is returning to my mindset with a sense of adventure rather than desperation. The work is free-er, not ticking course boxes but taking advantage of an opportunity. There are more failures than successes, and I’m not ready to call any of them glorious, but relaxing, refocusing, suspending disbelief are all helping. I feel I’m developing resilience, a self belief and sense of purpose that holds up when things aren’t going smoothly. I wonder if this is accepting and even taking advantage of a different kind of “failure”. It’s not going well, look at the situation and find possibilities in it.

    I’m looking forward to the next exercise.

    T1-MMT-P4-p1-e2 Drawing onto the printing plate continued
    Part 4: Mono and collatype printing
    Project 1: Monoprinting
    Exercise 2: Drawing onto the printing plate
    Continued

    T1-MMT-P4 Reflection on tutor feedback for Assignment 3, glorious failure and suspended disbelief

    A long title, and it’s taken me a few weeks to sit down and type it.

    In my own review of assignment 3 (12-October-2015) I described the exercises as absorbing, fascinating, and I was proud of my work. I wrote of my new and fragile sense of accomplishment.

    The feedback from my tutor was very positive, with comments on exciting ideas, curiosity and energy in approach, and “a good mixture of successes and failures”. In her report Rebecca identified strengths exhibited, with specific examples and an explanation of why they are important. This was a wonderful confirmation of my own sense of achievement, and it makes the general course expectations clearer and more personal – I know the behaviours to pursue, repeat, strengthen.

    Positives include:

  • Returning to previous parts of the course for materials and techniques, building on knowledge;
  • Using a range of drawing techniques and media to explore samples, getting the most information I can from them;
  • Embracing failure – interesting things happen when we take risks;
  • A consideration of composition, helping me to make decisions about the direction to take;
  • Taking a technique and exploring it further.
  • My writing is articulate and analytical, my research is varied, my blog is organised, my photos good.

    So far so wonderful. But…

    it arrived just as I was coming to a thudding crash in printmaking (not really sure “thudding crash” makes sense, but it certainly captures the feeling).

  • I’ve found only minor purpose from previous materials, a little printing on cardboard or texturing with a previous sample.
  • So far I haven’t found a way to draw or extend what I have printed. In the last assignment I was exploring a three dimensional sample in two dimensional media, which is a very open process. Everything currently is so flat.
  • Prints are so familiar I’ve found it difficult to let go of expectations. I haven’t been able to treat a failure as a discovery of new possibilities.
  • I’m experiencing printmaking as something very technical, and finding it difficult to attend to compositional and aesthetic concerns.
  • Stuck in the fundamentals I don’t feel close to finding new territory.
  • Previously I had some great, new materials. Now I’m using very nice mainstream printing inks. Nothing seems quirky, fresh or experimental. It’s all so flat – physically and emotionally. Getting a great report for previous work just seemed to highlight how off-track I’ve got.

    I’m continuing to challenge my mindset. Right at the beginning of the assignment I noted the different focus of this course to a printmaking course (18-October-2015). Even when I don’t like a print as a whole I’ve tried to find a detail or something positive about each one. In some work yet to be posted I’ve tried to follow up or develop ideas. Also yet to be posted is more research, very focused on little details from other artists which I might be able to adapt to my use.

    Perhaps the most important challenge-to-mindset relates to my tutor’s remarks on the vulnerability of the artist. “It was very interesting to read your understanding of how vulnerable the artist is. Even though this is scary it is also very positive. It means you are at the point where interesting and exciting art/design can be made. It is evidence that you are taking risks and perhaps challenging preconceived ideas. The balance of not being too precious yet taking your work seriously is important. In my experience many artists, even very successful ones feel vulnerable when their work is first out in the world. Some avoid preview exhibitions nights in case the work is viewed negatively.” (Rebecca Fairley).

    How much more vulnerable we are to our own inner critic? My old harridan seemed transformed. I could look at an apparent failure and find it glorious, or if not glorious then shrug and move on to pursuing all the other possibilities being generated. Now I’m not finding exciting possibilities. I’m not being open, letting go of expectations. It’s harder to nurture that vulnerability.

    I need to let go, find fresh eyes, lighten up. A favourite story – in maths at school the teacher would introduce some new, bizarre topic and say lots of things that didn’t mean anything and didn’t hang together. Others in the class would interrupt with lots of questions, trying to make sense of all that new information. I’d sit back and accept everything as a given. I suspended disbelief. Later when we’d had the complete presentation, worked examples, etc, it would make sense (or not, in which case just following the instructions usually worked). It was effective, and overall I got further than the ones who needed results straight away.

    I need to suspend disbelief. I need to see what is happening in front of me, challenge those preconceived ideas and the inner critic. Maybe I’ll find the potential, find new paths, new risks to take. Worst case I do an adequate job, just following instructions. Turning up and doing the work is a good thing, and maybe if I give myself a chance it will lead to better things.

    T1-MMT-P4 Reflection on tutor feedback for Assignment 3, glorious failure and suspended disbelief
    Textiles 1 – Mixed Media for Textiles
    Part 4: Mono and collatype printing
    Reflection on tutor feedback for Assignment 3, glorious failure and suspended disbelief

    T1-MMT-P4-p1-e2 Drawing onto the printing plate – three variations

    Sketch based on Monet's Poplars on the Epte Click for larger view

    Sketch based on Monet’s Poplars on the Epte
    Click image for larger view

    The instructions for this exercise begin by asking for a simple composition from my sketchbook. I have to admit my sketchbook work, so effective in the last assignment, has fallen apart. It was focused on recording and exploring my 3D samples, or else the dimensional works of artists I was researching. This approach hasn’t translated to working in print-making. The last exercise already felt like sketching and I haven’t got that important feedback loop happening. That will have to change.

    In the meantime I’ve been inspired by a painting in The Greats: masterpieces from the National Galleries of Scotland exhibition which recently opened at the Art Gallery of New South Wales (AGNSW). Fellow OCA student Claire (link) and I have been attending weekly lectures at AGNSW all year, with a variety lecturers focusing on paintings in the exhibition. We’re finally able to see the works themselves, so I was able to actually spend some time with Monet’s Poplars on the Epte before attempting to sketch out a highly simplified version as inspiration for this exercise.

    Print p4-37

    Print p4-37

    Print p4-37

    Print p4-37 detail 1

    Print p4-37 detail 1
    Click image for larger view

    Print p4-37 detail 2

    Print p4-37 detail 2
    Click image for larger view

    This print uses Akua intaglio inks printed on 100gsm white cartridge paper using the Ezicut press.

    Blue was rolled thinly over the entire plate, then yellow, green (a mix of the blue and yellow) and a little violet was applied using a paint brush to form trees and bushes. Polyester fill that had been textured with a heat gun (Sample p1-67 21-April-2015) was used to remove ink unevenly from the sky area. The deep and varied texture of the polyester was very effective in suggesting random clouds. Some fine tulle was used to add texture to the tree and bush areas and to spread colour up into the sky and down into the water. Blue and violet was rolled onto clingwrap that had been pulled into linear folds. This was then pressed into the lower part of the plate to create a rippling water effect. Tree trunks and their reflections were suggested printing from the corner of a piece of styrofoam that had been painted with violet.

    I like this print very much. There is a technical problem on the lower right edge with a couple of blobs of blue ink, but otherwise I am satisfied with my techniques. There is a range of values, with overall good coverage of ink and the underlying colour of the paper playing its part. The different textures produced are each appropriate for suggesting the parts of the image. The limited colour range – just three inks – is cohesive but sufficiently varied for interest. The simplified composition and changed proportions are effective, graphic but still suggesting some depth in the landscape. I see it as a good modern interpretation of my source material.

    The textures and mixing of colours are interesting at a detail level and have potential to be developed at different scales or in different media.

    break

    Print p4-38

    Print p4-38

    Print p4-38 detail

    This is a detail of the ghost print of p4-37, taken on white cartridge paper using the Ezicut press and after rolling release agent onto the plate.

    Most of the ink had been taken up in the first print and overall the ghost is just a collection of blotches in a pale blue haze. However there is a bit more centre top and I like the grainy detail. You can see more of the blue that was rolled on behind the trees – an important element in the coherence of the earlier print.

    break

    Print p4-39

    Print p4-39

    Print p4-39

    Print p4-39 detail

    Print p4-39 detail
    Click image for larger view

    Although intending to continue the focus on exploration of the specialty printing inks, I decided to experiment with other media. This is the same base composition, drawn using water soluble crayons onto a sheet of acetate with a border created in masking tape. Printing was onto damp Stonehenge paper using a bamboo baren.

    I used a range of blue, green, yellow and purple crayons, varying textures with swirling marks in the trees and bushes, light long horizontals in the sky, and many shorter and overlapping horizontals in the water. To create the tree trunks lines were scratched into the crayon using a bamboo skewer, then drawn over in a range of browns. The tape border was removed before printing.

    There are some technical issues. Some extra wax was caught at the edges and should have been cleaned off. There are also flecks from loose fragments that could have been brushed off.

    The different textures don’t jell together. The swirls in the trees and lines in the water aren’t sufficiently differentiated. The drawn lines remain consistent in width without covering the ground paper and without enough variety. The sky just looks a scrappy scribble. There is more blending of strokes on the smaller trees and possibly this is worth pursuing. At the detail level I like the scratched marks and the way the brown crayon sits in them. I should explore/exploit this more if working again in this technique.

    break

    Print p4-40

    Print p4-40 detail

    Print p4-40 detail

    Print p4-40

    Print p4-40
    Click image for larger view

    I sprayed the plate with a mist of water before taking the ghost print on rice paper. The full image is unbalanced, blotchy and uninteresting. In the detail, I like the combination of grainy and watery textures. I would like to try creating this effect over a larger area, and perhaps with regions of different colours.

    break

    Print p4-41

    Print p4-41

    Print p4-41

    I tried the composition one more time, working in oil pastels on the acetate sheet, again creating a border using masking tape. Printing was onto cartridge paper.

    I attempted to improve technique by cleaning the border and brushing off loose specks, but without complete success. Texture was varied in the sky by blending the pastel with my fingers.

    I wasn’t able to get much colour transfer using the baren, so I tried pressing with a warm iron, thinking it would loosen the oil pastel. I did get more colour, but a lot was left on the plate. The heat buckled the plate. Attempting a ghost print was totally ineffectual.

    The finish of the print is beautifully silky-smooth. That’s really my only positive. Unless new inspiration strikes I wouldn’t bother with it again.

    However I am curious about some fabric crayons that I have. If time allows I would like to try a similar technique to draw and then transfer onto fabric.

    break

    T1-MMT-P4-p1-e2 Drawing onto the printing plate – three variations
    Part 4: Mono and collatype printing
    Project 1: Monoprinting
    Exercise 2: Drawing onto the printing plate
    Three variations


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