Introducing monoprints & exploring personal objects.
Monoprinting – One unique print that can be taking using many different methods. The main 3 are:-
- Drawing into ink that has been thinly rolled onto a plate.
- Painting printing ink onto a plate
- Drawing onto the back of paper that has been placed on an inked plate.
Images & theme – Selecting personal objects
I have chosen to work with tools from the tool box, most of which are old, with either rust or patches of worn paint. At the bottom of the toolbox I found a pack of assorted keys, I’m not sure where they’ve come from, only to say the box has sat in the shed for many years, barely explored, but are tools that my late husband and I’d imagine, possibly some that his father used in years passed. So yes an emotional attachment and significant meaning, and an eclectic mix, a mix that at first I thought wouldn’t work together, but hopefully with playful, and not so playful, arrangement I think do sit well together.
Of interest, as I arranged, I noticed that many of the object, which appeared quite plain at first, had writing / stamps on them, a simple key or spanner, became one of intrigue, what was the story? is there a story? Certainly the hand drill I can see comes from the USA, was it imported commercially, did an immigrant bring it as a possession? The spanners tell us what they are for, what size nut / pipe they need to be applied to, the mini hammer, despite looking like some medieval axe is actually for breaking toffee, the claw hammer relays messages (on its shaft) about health and safety and the keys; some conjure images of secret trunks and diaries, while others conjure up images of ‘below stairs’ or heavy wooden doors.
As suggested, as part of my placement exploration, I have made some thumbnail sketches. This was not an easy task to begin with, I am not the best sketcher by any means and never having sketched at this size I found it difficult to scale the objects to the required size.
Experiments with plate, brush & other tools – using Cranfield Caligo Safe Wash relief inks. (Paper – Photocopy)
I began this exercise by experimenting with the ink and various mark making tools. I found it hard to get used to the amount of ink and had problems loading ink onto the tools, sometimes too much, other times not enough. Getting the right amount of ink is an art in itself and I worried that a thin layer would dry too quickly, certainly with very warm temperatures in my work area (25+) this proved a hindrance. However, the thicker ink took days to dry, it was all a bit hit and miss, obviously a skill that needs time to perfect, but something that needs to be taken into account when planning my assignment submissions.
Household paint brush – when I got it right I liked the large soft stroke, this was in contrast to that of the stiff bristled toothbrush which left a harder, scratchier mark.
Likewise, sweeping strokes with a sponge were much softer than those that were dabbed on with pressure.
A mottled spotty effect was achieved by dabbing corks, paint brush bristles and bubble wrap in ink and then onto the paper. I liked the almost tadpole effect of adding ink to the plate with a wooden coffee stirrer.
Maybe something that could be drawn into when using a similar shaped but larger tool to create sweeping marks with a heavy head and fine tail.
In this example ink has been applied to the plate with the Harris brush and then dragged and moved around with a credit card. I like the wide sweep that is achieved.
Ink was scrapped onto the plate with a palette knife, its interesting to see the different texture, blobs of ink from the initial contact followed by sweeps of ink dissipating towards the end, in some ways a bit similar to that of the coffee stirrer but not so sharp.
Ink has been applied to the palate with the Harris brush and lifted using two different papers, thin photocopy & heavier Fabriano 250gm. It’s interesting to see the difference in the results which I assume are down to the different textures & weights of the paper.
My first prints: (Cranfield Caligo Safe Wash relief inks).
Drawing into the ink with a kebab stick. Maybe I need a thicker point to work with and a more even spread of ink.
Painting printing ink onto a plate with an artists brush. The left image I varied the pressure when lifting the print. Rather than take a second ghost print I added more ink to the plate in both black and red. I prefer the left image to that of the right. It is more ghostly and the end of the claw hammer conjures an image of flakes being chipped with each blow of the claw. The red ink of the right print is lost within the black ink.
Using paint brush and bubble wrap to ink the plate and an artists brush to paint the spanners.
Drawing into the inked plate with an inked stick, the paper was damp, a bit to damp! but the print was more vibrant and had picked up much more of the background colour.
Ink applied to plate with plastic card, drawing with an inked stick (L). Excess ink scrapped off plate and black re-inked with stick (M). Red ink dabbed onto image with small brush, printed onto tissue paper (R).
Thin tissue paper provides surface for a vibrant print, the ghost print was made onto damp paper causing the ink on the keys to blur.
There is some dust or water on the plate which has resulted in a spotty effect on the left print. The right print was made onto a paper bag that had been screwed up and then flattened. I like the effect, it has an old crackled varnish look to it where the ink has not penetrated the creases.
Taking a break from printing I researched the work of Tracey Emin, not my cup-of-tea, however I am reminded that I haven’t made any prints by drawing onto the back of paper that has been placed on an inked plate.
Ink transferred to paper while trying to hold paper steady on plate (L) – solution for a cleaner print (R), clip paper to plate with a bulldog clip.
In my research of Tracey Emin I commented that her text appeared almost childlike, now having added text to my monoprints I can understand why this may be so, trying to hold the drawing tool in a way that that you don’t put pressure on the paper with your hands is a difficult skill to achieve, especially when you are trying to concentrate on upside down & back to front writing; easier is the different pressures required for denser & lighter shading.
For my final print in this exercise I inked over the red plate with black and again drew on the back of the paper (L). The resulting image on the plate looked interesting so I tried a negative print, which I am quite pleased with, I particularly like the way that the two inks has merged together in the background.
Review project 1 – I’ve been frustrated to some extent by this exercise and struggled to apply the ink to the plate correctly and then at times lift the image. I have though learnt that damp paper can help, as can different paper types, the thinner / lighter the better. Various tools can be used to both apply and remove ink. Having researched the work of Tracey Emin I do appreciate her style of printing (not always the subject matter) and my last few prints (drawing onto the back of paper) have been the ones I’ve enjoyed doing the most.
BILLYDOOPRINT1 