I set out today to add texture to yesterday’s prints using white ink. It then occurred to me that I could print using white ink onto other coloured paper, as well as black paper, and aged sheet music.

Firstly, I thought it was time to cut out a new violin mask (as well as design a new mask, using a different personal object, to use in conjunction with, as well as seperately to, the violin mask).

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I particularly like the white ink on black paper. The ghost print beside it unfortunately included a couple of spots. I may use these spotted prints for mixed media pieces at another time.

I think I can afford to go a bit darker on the sheet music print. I’ll wait until the mask dries and cut out the “f” holes. Or, I could use a seperate copy of my violin design and cut out just the “f” holes in order to best place them in a seperate colour on any future prints in this series.

I set out today with the following objectives, not all of which came to fruition.

Create multi-layered monoprints achieving diverse effects using textures, masks, and back drawing.

Complete blog post from yesterday by adding references.

Note todays successes as well as the “failures”.

Despite writing this list before starting the actual printing this morning, I blundered through a series of printmaking efforts with no real sense of what I was doing or why. Headless chicken mode has pretty much prevailed since starting Printmaking 1. The blame for this I had been placing squarely at the door of the fact that I had been awaiting the results of my first module (Drawing skills) and still did not know whether it was resolved and safely beyond the risk of necessitating resubmission.

However, having received my grade and been content with a mark of 60, it was difficult to switch off this hypervigilant part of my brain and really commit to Printmaking 1.

Excuses excuses.

The photograph above depicts my best efforts of this morning. The rest are either “also-rans” or in need of further layers.

Here they are as follows:

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I think the last three prints in green were a bit of a mistake. I failed to follow my own advice and to use colours that rub shoulders on the colour wheel rather than so-called “complementary” colours which are opposite.

I think perhaps the above can yet be rescued as outcomes with the addition of a third colour. I need to think carefully about which colour to use. In fact, I need a complete colour-strategy rethink.

I also need to revisit the first item on the list – “Create multi-layered monoprints achieving diverse effects using textures, masks, and back drawing.” – and complete some fun experiments.

I think the above print is my favourite so far. I like the way the red does not dominate here. It is more complementary to the other colours than those prints I pulled yesterday. I chose to use red again as I had a couple of earlier printed layers using yellow and wanted to use a colour closer on the colour wheel rather than opposites. I attempted to add some texture by impressing ribble board into the ink before taking this print. The effect maybe a little too subtle to see in this photograph.

The following, though not quite so successful, has some interesting texture. This is a ghost print. I had already taken two prints from this inked plate before removing the violin shaped mask so that it revealed a greater density of colour beneath the mask. Again, the red is rather dominant. But I plan to reduce this effect using white ink and random objects such as lace, bubble wrap and feathers as masks.

Later I will amass a few more base prints upon which I shall experiment also using objects found around the house.

I have continued to use oil based ink since finding it easier to work with due to drying times. But I also prefer it because it gives a better finish to the print. Rather than soaking in like paint, the oil based ink appears to sit nicely on the surface of the paper.

I really started to enjoy myself this morning as I peeled the print away from the deliberately mismatched plate to reveal a really quite pleasant effect.

As yet I am experimenting on cheap inkjet printer paper. I am a way off trusting my process with anything more expensive for now. I shall do a print run using different paper stock soon.

I have cleaned up the blue oil based ink now. I am getting much better at judging how much I need for each print run. If I inadvertently squeeze out too much ink, I have plastic pots in which to store it until the next studio session. The next colour I will be using is reddish-pink. This could be quite effective on top of the yellow prints as follows:

So far, so good. I did leave a spot on the yellow area of this print. This, however was not due to dust but to a blob of something dried (now removed) on the wide brayer I used to help eliminate lines on the print. I had not used it in a while and had assumed, wrongly, that it had been effectively cleaned. In future I will need another wide brayer for prints with more than one colour as cleaning it part way through is not really practical.

The blob left on the print I did hope to obscure with the ‘f’ holes in purple ink. Unfortunately it is still visible.

I took a ghost print but it is so feint as to be barely discernible. However, there are clear finger marks visible on the top left corner. I suspect these were on the plate prior to my inking it. I am beginning to realise why prints are so expensive. All this trial and error uses untold amounts of materials and time. It is immense fun though. Perhaps I could use this mistake to produce a deliberate effect?

Finally, I have achieved what was beginning to feel like an impossibility. I have now created my first spot-free print. I blew on and shook the paper before the print was taken. The masks were treated similarly. I was squeaky clean with my ink rollers, plate etc. Hopefully not just a flash-in-the-pan. I shall, of course, endeavour to repeat my success with the two colour print for Project 3 etc.

Learning Outcomes:

• Be scrupulous with cleanliness on roller, plate and rolling surface
• Remove dust motes and debris from paper stock
• Ensure masks are similarly dust-free
• Clean hands of ink spots
• Take time over lining up of the paper
• Take time to ensure all areas of the paper have been smoothed over the back of the paper onto the print plate
• Take a break and assess outcomes
• Be consistent in approach

Very pleased with myself.

These lines from ink roller are possibly avoidable by using a wider brayer. I added transparent base to the water-based inks to make them workable for a longer period. This has weakened the colour intensity somewhat. I shall work on this further after a coffee break.

I think I’ve finally worked out/remembered about what is causing repeated spots on my prints so far. I say “remembered” as I have an inkling of a memory that I was advised, either in the text, or by my tutor directly via Zoom, to ensure the print paper itself was clear of dust and debris. Needless to say I have not been doing this. Hence repeated spots before my eyes.

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It’s a real shame that I did not twig this earlier on in the day, as today’s prints may have been saved from spoiling. I shall keep them all to remind me of the importance of clean, dust-free print paper. They may be put to good use as collage material at a later date. Tomorrow I hope to produce spot-free prints due to my new dust-free regime.

Having moved on to Project 2 of Part 1, I thought I’d have a second stab at getting some decent basic Monoprints. Although the placement on the page has improved from my initial attempts, I still keep getting spots on my prints. I also have yet to produce one that I am completely happy with as far as composition is concerned…

…sadly, after today’s efforts in my studio, this dissatisfaction remains.

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I’ve decided to accept what I have achieved, though this may be unsatisfactory, and move on to more complex positive and negative prints using masks, as I was having slightly better results from these. I shall attempt to improve my outcomes as I go, rather than doggedly pursuing perfection without moving forward. I need to review my process carefully to avoid spots etc.