Note: The prints below have an even colour throughout but due to the dull day and light source available they look a little lighter on the right hand side. Please take the actual colour to be more consistent with the left side of each photo.
Colour scheme 1:
Above: Single layer proofs. Reading left to right, top row followed by lower row: – 75% hansa yellow +25% extender, 25% ultramarine blue + 75% extender, 50% ultramarine blue + 50% extender, 30% black + 70% extender.
Many prints were taken but most were slightly misaligned as can be seen from the small close-up images. This method of registration is just not accurate enough when you are holding a carved & inked lino piece which has a tendency to bend, over a sheet of paper, hoping to place it down in exactly the right spot – and there is also the slight wobbling, or movement, of the hands as you hover over the previously printed layers, praying desperately that you can keep still enough to get it in the right place.
Colour scheme 2:
Above: Single layer proofs. Reading left to right, top row followed by lower row: – 75% hansa yellow +25% extender, 25% napthol scarlet + 75% extender, 25% quinacridone red + 75% extender, 40% sepia + 60% extender.
Above: Cumulative layers. Reading left to right, top row followed by lower row. Very disappointed in the finished print here as there was huge slippage when placing the lino down for the sepia. As I lowered the lino I simply shook and misaligned it and you can see on the close-ups how that has affected the outcome. Extremely disappointing but a real hazard with this form of registration.
I’ve really enjoyed this reduction lino project and would like to linger here and produce a completely new design and have another go. Time is marching on though.