Part 1: Project 2: Positive and Negative Masked Monoprints Continued

I learned last week that my ceramic tile plate lacked the definition required for clean sharp print edges, so I returned to using a glass plate. The template happened to fit this glass plate all but perfectly. I brushed the ink onto the plate this time, rather than using a brayer like last week.

Have the workings of a decent collage from leftover stencil and templates

Initial print from template with “f” holes pre cut

Unfortunate lines left due to imperfectly fitting stencil

Ghost print (once initial print, first ghost print already taken and template removed)

I still need to be more scrupulous with keeping plate and inking surfaces clean to avoid spots on my prints. I’m pleased that the placement of the paper has improved markedly on initial experiments. This is due to lining up the long side of the plate parallel to the table edge. Then by lining up the short edge of the paper parallel to the short edge of the plate and then rolling the paper carefully down onto the plate – keeping both the long and short edges parallel.

I am as yet confused by definitions of what constitutes a negative print and a positive plate and vice-versa. I need to return to the course text and update this post accordingly.

Part 1: Project 2: Positive and Negative Masked Monoprints

Finally I got back into the actual fun of printing. I think these templates of my violin turned out rather well. The initial prints were a bit “gloopy”. Less ink on the plate next time. Plus there is a noticeable pattern left by the brayer as I inked the ceramic plate. I’m not altogether unhappy about that texture, though it would be nice to have a nice consistent print.

Monoprints using a template as a mask to create negative prints from a positive mask

The next print was a ghost print – this first was a bit fuzzy around the edges. Then I removed the template and took a print of what ink remained. This gave slight gradations of ink from both within and beyond the area covered by the template. It has also left a nice outline in darker blue.

Monoprints using a stencil as a mask to produce positive prints with a negative mask

The next stage was to use the “waste” paper from cutting the template. Using it as a stencil, I followed the same procedure as with the initial prints. This produced pleasing results. I am also much better at lining the paper up along the edge of the plate so that the print is parallel and not wonky.

These prints took 50 minutes to produce. This is worth bearing in mind for planning future studio time after work.

Sketchbook

On Saturday I did some investigative play into cubist-inspired art. This is something I began in the previous (Drawing Skills) module. I began with drawing one large spiral on my iPad mini. Instead of colouring in between the lines I deliberately scribbled over them using the spiral as a guide only rather than as a rigid framework.

I then drew onto a printed copy which I then glued into my sketchbook.

I then drew four seperate spirals in my sketchbook.

Bisected and highlighted with white pencil

I then thought about my violin shape.

I need to find a way to turn this design into a successful print. Perhaps by using the calograph technique.

I then drew a simple horse design and cris crossed it at strategic points with white lines. I then highlighted areas with white pencil again and then shaded in others using a B pencil.

Part 1:Project 2: Design for template/stencil/mask

Perhaps not the best sketch I’ve ever completed, but it illustrates my thinking adequately enough to move on to a finished design for my first positive/negative masked monoprint.

From this outline, I produced the following design. I took several photocopies of this so that I could produce a few different masks.

I’m quite happy with the final first design. I’ve left out the bow on this occasion as it’s so much longer than the violin and would require my scaling the design down in order to fit in the bow. I will add this into the mix as well as any other items such as gloves and/ or musical notes in a later version, I think.

Part 1: Project 2: Initial Sketches

Gradual simplification process in progress

This is “Vera”, my most precious and prized possession. I’ve been learning for over three years now. I am just around the stage where music fills my ears when I play. A few months ago I was still making a bit of a racket.

The process of simplifying these images is very gradual. I find myself reluctant to “let go” of details such as strings and the spiral of the scroll. But they must both go as to include them in my template/stencil project would likely detract from, rather than add to, the effectiveness of the final outcome.

These sketches, which I chose to draw directly using a sharpie in order to reduce “preciousness”, read top down from left to right. I think you can tell by the lack of simplification how I am loathe to part with detail. My partner sent me this image as encouragement.

Not a bad rendition in my humble opinion.

References:

Purchase. CJ. (2020) “iPhone sketch” Private collection

Colour Monoprinting

I had another go at using coloured ink in my monoprints. I won’t have too much trouble choosing the best 4 pieces for submission to my tutor as so few are worthy. But I learned a lot along the way.

Add oil to ink to make it more workable
Use bold colour combinations
Leave plenty of white space
Use pale coloured plate if printing on white paper
Keep hands spotlessly clean
Use up leftover ink for experimentation
Be organised with workspaces
Give ink plenty of time to dry
Store pieces carefully (ideally in plan chest)
Clean off print plate etc immediately after use
Line paper up squarely onto plate

Here are some random experiments

These are both printed on cheap A3 copier paper

Ghost print on Fabriano 250gsm
28cm x 38cm printmaking paper

I’ll likely submit the following four prints:

These prints show how I simplified the image over time

It’s time to move on to Project 2. But I must first write up my Still Life research point (parts 2-4).

Monoprinting in Black

I’m more pleased with this “ghost” print than initial one

Today I took a step back and reviewed prints produced so far. I concluded that, on the whole, I’d inked too much plate area. I’d not left enough white space, but had insufficiently inked the covered areas. This led to poor registration with fuzzy outlines and content.

I decided to work in monochrome this time because I have plenty of black ink to use, whereas I felt I was “wasting” precious coloured oil-based ink.

I am pleased with the placement and registration of today’s prints. They are on newsprint. I used a smaller (ceramic tile) plate so there was ample space around the prints. The tile was a pale colour so I could visualise how the white space would look in the finished print.

Tomorrow I shall use what I’ve learned on a single-coloured print using coloured paper as well as on newsprint. Then perhaps I shall increase the number of colours used.

I’m strongly tempted to collage using the prints which didn’t work. I may well succumb to this temptation sooner rather than later.

Part 1: Project 1: Last stab at Monoprints worthy of submission

Poor registration, though well placed first print of the day

My first stab of the day took 50 mins to produce. Too long. The ink was all but dry by the time I showed it to the paper.

This following print was completed in just 10 minutes:

Both were printed onto A3 printer paper. There is a little too much white space, though again it is well placed on the paper.

My final attempt of the day was into (somewhat optimistically) Fabriano 250gsm Printmaking Paper (28x38cm)

Third effort on decent Printmaking Paper

Registration is still an issue, but not insurmountable. I do have a Jack press I can try, after all. I can also try making the ink a bit thinner using cheap olive oil or similar.

Manyana.

Resistance

So, I got as far as clearing away my previous project (creating a junk journal for “seasonal gifting”). I even got as far as donning paint-spattered apron in readiness – only to remove it again.

What the hell is my problem?!

Naturally (for me) I turn to wiser heads than mine via a good book on the subject of Procrastination, and its close cousins, Fear and Resistance. “The War of Art” (Pressfield. 2002) is more than just a clever title. Steven Pressfield attempts to condense these issues with creative resistance into bite-sized, easily digestible mini-chapters. This attractively slim volume is less intimidating than other heftier tomes on the subject. Chapters can be accessed at random (between tentative stabs at what we artists “ought to be doing” with our time) without harming the underlying message.

I flip through the book and pause at a catchily titled section, “Resistance and Fundamentalism”.

“Who am I?”, “Why am I here?”, “What is the meaning of my life?”

Huge questions.

Humanity, Pressfield argues, was not designed to exist independently. Therefore the concept of “Freedom” is incomprehensible to us.

Is it not the case then, that in our pursuit of happiness, we equate this feeling with being free? Hence, this constant craving for satisfaction, equates to an attempt to locate the gold at the end of the rainbow.

Perhaps then I am asking too much of myself to create satisfying outcomes in isolation? That “spirit of independence ” over which I am so protective, is the very thing that prevents me from achieving my goals?

I need my hand held, then?

Or, do I need a partner in crime as a witness to my creative endeavours. Perhaps, in the absence of said partner, I could choose to create under the watchful gaze of a lens?

References:

Pressfield. S. 2002. The War of Art. New York. Grand Central Publishing

Part 1:Project 1: Day 4 Monoprinting

I started the session by rereading the project brief. In the past few days I have played around with colour combinations and different papers but not with the composition. In the initial still life set up the singer statuette appeared to be affronted by the presence of the Buddha’s head. I decided to turn them both around so that they faced one another.

I’m finding Monoprinting to be a bit hit and miss. But at the same time I am learning a lot from the experimentation. Due to a poor sleep pattern, I had a late start today and attempted to cut a corner by using primary colours as well as green straight from the tubes. The resulting print is not the most successful ever. I keep forgetting (perhaps due to the copper coloured plate) that un-inked areas will be blank white on the final print. I need to learn that the lightest areas need to be left without ink, so that they remain white.

I did, at least, find a reliable method for laying the paper onto the plate in such a way as to achieve a centred, well-aligned print. This was achieved by lining up the topmost edge of the paper just above the the top edge of the plate and slowly rolling it down onto the plate, rather than placing it onto the plate and hoping for the best.

I could have ended up with a more successful outcome had I used yellow ink instead of the muddy colour (red and blue mixed) when defining the texture of the open pine cone so that its outline was discernible from the background of the block supporting the Buddha’s head.

I tried using the other end of the brush to draw into the ink in the background as well as for added texture on the pine cone. This I shall do again.

What to remember for tomorrow:

Try a different colour plate (perspex, plastic or even a white tile?)
Leave well lit areas blank
Start earlier in the day
Don’t cut corners
Mix colours ready for application
Continue using paper line-up method to achieve centralised print
Be aware of the necessity of colour and tonal contrast when applying ink to the plate

Enough for today.