printmaking workshop: mono and lino

MONOPRINT

I only got so far as the drawn mono printing in the session. I'd never done it before, where as I had used the stencil technique before so spent my time on this. It took quite a few goes to get the technique going as I wasn't blotting enough ink off of the plate. I was also shown how to create a negative print from the plate by pulling it through the rolling press.

I tried to create a shadowy but soft figure on the bottom images by using a cotton bud instead of a pen but there was still too much pressure and it left a scratchy effect. I was told that just pressing my thumb or finger on the page would have created a better effect.

I'm not sure mono printing is right for what I have in mind for this project but I was surprised to find I enjoy it. I'm enjoying the unpredictability in the results, which is not like most of my practice.

LINO

I had lino printed before so tried to challenge myself with a reduction lino print, which I had not. It would also be a good test and lesson in using two colour printing methods in lino.

I really enjoy the physical process of lino carving and it feels more in touch than silk screen printing. However, I was hoping for cleaner results to emulate the series of paintings I had done like this:

I think this could potentially work if I took more care with the lino carving but it is definitely less reliable than screen printing, which is something to consider.

I had a lot of trouble lining the lino plate with the print on the second colour run. A print technician suggested I make a float but all of my paper was in different sizes and the plate in different positions. If I was to print again in lino I would take more care with using the same size paper, and if I begin with a float it would be easier to stick to it for neater prints.