Print p4-62
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
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.
Print p4-63
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 p4-64
I refined my plan for the next two prints:
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.
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
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
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.
Print p4-65

Print p4-65 detail
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.
Print p4-66
Wanting to experiment with printing on a more distinct background, I chose a page from an old harmonica instruction manual.
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.
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.
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. 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 detail
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.
Print p4-67
The final print is the ghost layers of p4-66, printed on rice paper.
- Print p4-67 layer 1
- Print p4-67 layer 2
- Print p4-67 layer 3
The build up of colour is attractive if not exciting. Perhaps using different colours it could suggest something like crocodile skin.

Print p4-67
On some level I scored on a number of my goals for this work session.
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
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