Moving on from just working with masked areas, we are now exploring creating texture within prints.
I started with something simple:
A light colour-wash was applied to medium texture water-colour paper. As I chose to make a bigger print than I have done before the paper was cut to the size of my perspex print plate. Fern was placed on to the plate, creating the mask, and the print was taken, pressing by hand.
Print 1 – Black ink was rolled over the print plate. A pipe-cleaner was dragged vertically and horizontally to create the frames. Skeletonized leaves were impressed into the ink surface then removed to leave the images. Steel wool was scattered over the plate surface and left in place creating the random white areas. Unfortunately the plate was a little heavily inked for the image to show clearly on the right.
Print 2 – Ghost print of the previous print.
Print 3 – The ghost image had a very thin translucent yellow wash applied. Once dry, a mask was applied to the whole surface with a cut-out for the leaf image. The skeletonized leaf was impressed into the plate surface and removed, then the print was taken.
Print 1 – A light fairly translucent layer of ink was applied to the plate. The plants were laid onto the surface of the 110gsm cartridge paper and the inked plate lightly applied over the top, giving a faint transfer. The plate, and paper, was carefully turned over so one end of the paper could be lifted and the plant material removed. The paper was then laid back down and further pressure was applied to the back to give the plant imprint. Once dry, translucent yellow ink was applied to the plate , a paper mask was applied to the majority of the surface and a plastic net fruit bag was cut open and laid over the exposed area. A further print was taken.
Print 2 – Yellow ink was applied as a base layer on to 110gsm cartridge paper. This had some back-drawing which didn’t come out very well so grey ink was stippled on to the plate surface using a sponge and this created a second, but mottled, layer of colour.
A ghost print of the first image was taken whilst the plants were still in position on the plate – bubble wrap was rolled across the ink surface to provide more texture – and much more pressure was applied so more of the blue/green would transfer. A translucent blue vertical section was printed as a final layer using roughly torn tissue paper as an edge resist. As the plant material was still in place when the early layers of this print was created it has indented the paper so it didn’t lie flat when the blue was applied and it has caused part of the stems to remain the colour of the previous layers. I feel that this print is a little less predictable and planned than some of my earlier work and displays more spontaneity and a less formalised result.
A thin black layer was applied to the print plate and a wooden roller with string and washers glued to the surface was repeatedly run across the plate creating waves and circles. This was printed on 110gsm cartridge paper and later over printed with translucent yellow. A second ghost print, using the blue/green plant material plate from earlier samples, was overlaid and, again, the paper became indented from the plant stems.
An orange stripe was created using tissue paper resist, as previously, to form the edges. The orange had skeletonized leaves pressed into the surface, but only slight imagery is evident.
The stamp was made from polystyrene that was impressed by a metal meat tenderizing mallet. This was then glued to foam core to make it easier to hold.
The ‘cracked’ patterning in the red leaf comes from the indentations from the plant material on the paper. The aim of this print was to explore using a dark background, adding translucent layers to test the effects of light over dark.
A3 110gsm cartridge paper was used.
Yellow/green was rolled over the plate and leaves & stalks were placed on the inked surface, with a tissue paper mask applied where you now see the dark sepia areas.
Fruit netting material was placed over the ink on the right hand side, cut sequin waste was placed across the upper centre and the wooden roller with string & washers was rolled along the bottom left hand side.
A feather was brushed repeatedly over the visible areas spreading the ink partially on to the mask in the hope of obtaining soft edges. This was then printed, repositioned and re-printed two more times. Hence the movement in the print and some of the original masked white area still showing.
A new mask was cut using another photocopy and the sepia was printed. The lower section was marked using the feather point whilst the upper left hand side was textured using a small pointed soft ended brush.
Overall I’m fairly satisfied with this print but on reflection the hard point feather marks were a mistake. I should have made less obvious marks.
I intend to print this image on fabric and enhance it with stitch – not for the course, just for my own satisfaction.