I wanted to use different colours so that I knew which technique was attributed to each mark.
Red-orange – used palette knife – too thick and oily
Blue-green – round brush – drier subtler mark
Yellow – large flat brush – smooth & textured marks
-Still not getting the mix of oil to ink right.
– Further mark-making experiments using different papers. Cheap lining paper had an interesting texture. Smooth paper is better for cleaner prints.
Further mark-making experiments:
• Used shapers to remove ink –provided interesting results.
• Sponges to apply ink – good for creating texture.
• Very large brush – dominant on the A4 plate – liked the visible marks.
• Layering colours on top of each other – need more practice at this – possibly need to use extender to make ink transparent and also probably need to apply more thinly. I will return to this technique at a later stage.
• Had a quick play with backdrawing – like the quality of line produced. A printmaker friend of my Mum’ recommended I ink a plate of thin mylar and then use a drawing implement to push the ink onto the paper. I tried this and liked the result – it offered a different quality of mark. I know I will come back to these techniques later on in this part of the course, but it was good to get some experience of what I possible.
• I had also read that you can print watercolour or gouache paint from a mylar plate onto dampened hot-pressed watercolour paper. The instructions advised to use watercolour straight from tube. I was really surprised by how strong the transfer was in terms of colour. I wasn’t particularly impressed with the result but I liked the potential that this technique offered.
• Neocolor ii watersoluble crayons using the above technique worked well, as did gouache.
• Watersoluble inks – working very small –A6 size produced some interesting results. Working at a larger scale I found it difficult to get a strong transfer as the ink dries very quickly even with retarder added. Adding water to the plate created some interesting textures and drips. Realised the effect is much more subtle and softer than oils. Interesting how less saturated colours print a lot darker and blacker on paper.
• I had a quick play with overprinting with w/s inks– very hard to roll the ink out onto the plate as it dries very quickly.
o Better for textured effects.
o Need to be careful not to apply ink too thickly
o Overprintng could work with these inks – need to carefully plan colours, also need to get some extender to create more transparent effects.
• Used w/s inks on gelli plate. It was easier to get a good transfer and the plate retained interesting textures from the brush strokes.