Part 1: Project 3: Deliberate Mismatch

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.

Another ghost print. This time blue on purple

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:

Yellow print awaiting a pink/red colour overlaid on top

Part 1:Project 3: Two Coloured Masked Monoprints Revisited

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.

Finger marks can be seen. Perhaps the plate requires more vigilant cleaning.

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?

First Ever Spot-Free Print!

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.

Similarly spot-free, but has visible lines from rolling out the ink onto the print plate

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.

Part 1: Project 3: Two Coloured Masked Monoprints

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.

Today’s prints on cheap inkjet printer paper

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.

Part 1: Project 1: Revisiting basic Monoprinting

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.

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.

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