Update

I’ve spent the past couple of weeks attempting to build up print layers on multiple prints of the same image of a violin – apart from a slight deviation to play with the face of the Buddha which, as it’s a negative mask using white ink, is only really effective on black or coloured paper).

It has been a frustrating time as I’ve tried to perfect a spot free image each time. I used A3 photocopier paper as it was plentiful – having bought it at a car boot sale at a greatly reduced price. I had begun this part of the Printmaking Unit thinking to vary my paper more widely, as is suggested in the course text. However, I have had such patchy results that I abandoned this approach in Part 1 Project 1.

Yesterday I returned to part 1 and, using oil based ink, I was able to achieve the following images by first dampening the paper (Zerkal and cartridge) by soaking it for 10 minutes or so before printing on it. I had thought that this method would only be necessary for producing intaglio prints. I feel it’s useful for Monoprinting too if you are using oil based ink. If I had still been using water based ink, this would have been inadvisable, of course.

In the past week I gradually accumulated enough prints on which to experiment with second and third layers, allowing for “wastage” of those that may not make the grade.

Today I built up a third layer onto some of these prints in an attempt to create interesting textured effects

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Above are a mix of monoprints using oil based ink on A3 photocopier paper. Methods include back drawing, the use of masks and bubble wrap to form impressions onto the inked plate before taking a print.

Tomorrow I shall do more of the same, using different colours and different objects for added texture.