At the Goods Shed (Bass Coast Artist Society clubhouse) there is a wonderful old printing press. So I thought that I would take advantage of this and attempt a set of monoprints. I am very much a beginner in relation to this art form and very inexperienced. I have a bit of a love/hate relationship with monoprinting, I love most of the effects, but loathe some of the effects. For instance, if one is using very thick paint (particularly acrylic), then when the print is pulled, the areas of thick paint within the print will be full of little peaks of varying sizes. Very annoying, but one can fix this up to a point, but I find that one loses some of the characteristics that was so attractive in the first place. I tend to go over the peaks with an appropriately sized plasterer's scraper to flatten them, but this degrades the naturally occurring look of spontaneity. Also it is inevitable that some of the edges of the forms will be negatively effected.
Anyway, in a perfect world, the first and subsequent prints would need no 'adjusting' except for some minor embellishment at some later stage. As I stated above I am fairly new at this, and perhaps with an appropriate level of control (perhaps with more experience) when creating the plate, these negatives could be avoided. I have done some monoprinting in the past with varying results. This is the first time using an actual press. The plate consisted of a piece of old masonite that was covered with lumps, bumps, hollows and lines emanating from layers of old oil and acrylic paint that had dried and formed over many years. I have been experimenting with watercolour, laying it on straight from the tube in most cases. With watercolour paint, thick and straight from the tube, it 'flattens' (more so as opposed to the more extreme 'peaking' in acrylics), and doesn't seem to have the same negatives inherent with acrylic paint. It does worry me that once the thick layer of watercolour paint has dried there may be some cracking. I haven't noticed anything of this nature yet. I make no claim as to the quality of these works. It was though, great fun doing it and wonderfully exciting at that moment when one pulls the print off of the plate to view - either a abysmal mess or something wonderful.
I use the text and chop primarily as compositional elements within the picture.
Untitled, 2012, watercolour monoprint with Colourfix, graphite, and chop,
on Fabriano paper, 26.1 x 21.0 cm.
Untitled, 2012, watercolour monoprint with graphite and chop, on Fabriano paper,
29.7 x 21.0 cm.