Sunday, 16 November 2014

Chapter 2 : Monoprinting

Monoprinting Session 1

This is the first series of monoprinting I've done for a long time. It's also the first time I've tried to use the technique to interpret movement.  Added to this is the unexpectedness of the results from multi-layering surfaces.  These are just some samples of that first session.  The colours have been mixed using my colour sampling exercise as a guide.


2:7 is printed on white paper, 2:8 on brown. On both these sheets I tried to indicate the upright structures on the spiral staircase banisters.  These aren't particularly effective; they illustrate all too clearly that I'm still getting the weight of applying the acrylic paint to the glass.


2:9 is printed on brown paper, 2:10 on white. This time I worked with the spiral motif.  As the session continued my skill with the roller and paint improved.  The brown paper sample is most effective; it has a real feeling of movement and the gold edges created by the rubber ended tool I used give a nice feeling of highlight against the brown and blue background.  The brown paper's absorbent quality tended to blur what looked like nice sharp shapes on the glass.

I've included the white paper sample to demonstrate the effect of putting the mid-blue acrylic over the gold.  Whilst the gold gleams through attractively only small sections make an attractive design.

Monoprinting Session 2

The second monoprinting session and I'm feeling a whole lot more confident with the technique, though there's nothing like seeing work on the scene to make me doubt myself!

All of the samples below are carried out on white paper which gives a brighter finish.

Sample 2:11 is included to show that the samples 2:11 - 2:13 all have a rich brown sponged background.  The gold spirals are not strong enough in colour or design to be either obvious or integrate the two ideas.

2:12 and 2:13 have three or four layers and include two different spirals, one longer looped than the other and almost writerly. I used two different rubber ended tools together to make the shapes. Comparing them with those pieces from the first monoprinting session they are much more complex.



Below 2:14 and 2:15 are my two favourites.  Both have wonderful swirls, and are almost eddy-like. 2:15 was mainly second prints using the left-overs on the glass from 2:14.  I like the boldness of the design and the fact that the white background shows through being criss-crossed in part with mid-turquoise tones.