I felt that I had unfinished business with the falling figure. I don’t feel I had completely managed to express the desired sense of feeling in the pure masked prints. After the recent exercise on backdrawing, and after looking at Tracey Emin’s expressive monoprints and also Rodin’s drawings in my sketchbook, I felt that I could improve upon these by embellishing them.
I decided to use ghost prints from the masked versions as I thought the line would show up better. In the first, I used a textured ghost from the gelatin plate. The expressive, scratchy line quality was successful in creating a raw sense of emotion, however unfortunately it was clear that the gelatin plate had not been aligned to the same place on the paper as my plate, and so a portion of the figure was missing.
For the second version, I chose to use a ghost from the oil based ink version. This was better because I could align it without a problem. I used two plates one inked with blue and the other black to print the layers. The beauty of my registration jig was that I could keep turning it over and reviewing the effect then placing the paper exactly in the same place to keep working.
I personally, feel the effect was quite strong. I can imagine that this print would not be everyone’s cup of tea – due to the lack of technical accuracy. But I feel that this exaggeration of the pose actually adds to the expressive effect I was intending to create.
I also find the way that the lines overlap to be interesting, creating an effect of movement and lack of focus for the eye.
Looking at the work critically, it is a shame about the stronger, darker blue just near the back of the figure because that pulls the viewer’s attention; but generally I am quite pleased with this.