MM Part Four – Good Prints

I have highlighted some of the less successful prints made during this part of the course but there were some good ones too. Below are the prints I felt were most successful.

One – Part One, Exercise Four. Up until this print I hadn’t felt that I had got to grips with the techniques using stencils. For this print I pressed some cardboard and bubble wrap in to the ink, laid the masks on to and printed it. These elements printed but there is also a stray thread stuck in the ink that has given a loop to the far right hand side of the image. The plate must not have been inked very well as there are some ghost images from previous prints in the background too.

I did not set out to print this piece but I am very pleased with the amount of detail the paper has taken up from the plate and the variety of techniques that can be seen in the final image.

Two – Part Two, Exercise Three. I had enjoyed looking at prints made from mount board plates in my research and was eager to try to print one myself. After my trial plate was a little haphazard in the earlier exercises I was keen to ink this plate correctly and show how the different areas of the plate – mount board surface, cut away of the top layer, plastic and sand – could give different tones.

This was the first time for me really trying to using my roller press and it hasn’t been set correctly, one side is under more pressure than the other, however the inking and wiping have been done well and it is possible to see the different areas of tone on the plate.

Three – Part Four, Exercise Three. I tried to monoprint some backgrounds and draw in to them but the prints I obtained were mostly smudged and messy. I had drawn into several prints using the same inked surface. When I had completed the work I picked the glass plate up to clean it and the light shone through the areas that had been removed by the drawings.

I took several pictures through the plate but I also printed this piece. I had not used coloured paper before so this was a good departure from the work I had previously done. This was an unexpected print as I hadn’t anticipated using the used plate to print from. This is something to try in future work and would use up the ink on a plate rather than waste it.

Four – Part One, Exercise Two. I am beginning to get a bit more confident with drawing so was very pleased when this print looked like the drawing it was taken from. I have used some blue paint very sparingly in this piece but feel that this small amount of colour has lifted the piece and works with the white highlights well. Textured paper was also used which has added another area of interest to the finished print.

Five – Part Four, Exercise Three. I wanted to use the weave and knit of fabrics to do the work in this print, holding more or less ink than each other to give areas of different tone. This print has been printed using the press. The pressure on the plate has been good, just enough ink is on the plate to get a good impression from each fabric stripe and the texture of each fabric used can be seen, even down to the weave in the very fine organza at the bottom of the print.

Six – Part Four, Exercise Three. The grout plate made for these prints was inked up using dry inktense blocks. I had been quite slow with some of the other plates and the liquid paint or inks used had dried up while I was printing and, in some cases the paper had stuck to the plate, ruining the print. This dry medium gave me more time to apply the colour just where I wanted it and to then begin the printing process, activating the colour only when the plate or paper had been sprayed with water and had come in to contact with the pigment.

This particular print had a good amount of water on the paper and plate to allow the transfer of colour but without the colour running across the paper.

Seven to Ten – Part Two, Exercise Three. The grout plate made for this brick print was very simple in its image but has given many different textures and areas of colour due to the number of different tools and marks that were made in to its surface.

Seven has been printed using acrylic paint and extender and eight using the inktense method from above. These methods were then combined to give two further prints, nine and ten.

I had focused throughout this work on getting the printing technique right, inking the plate well and setting the pressure on the press or applying enough pressure by hand to get a clear image. By overprinting I should have set up registration marks to get the two images fully aligned, I didn’t and I’m glad that I didn’t. The inktense overprint is slightly offset but has given a clear image over the acrylic, if a little bit to the right.

I was disappointed to start with but on looking as small areas of the print I can seen patterns developing that have repetition and line.


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