Printing - Monotypes

It's been a long time since I have been in the studio and I was aware of a distinct lack of confidence in my approach to creating some 'finished' work.  This was my first experience in the print studio at Sion Hill and it was challenging, not only on an emotional level but also on a practical level.  In the past I have worked with water based printing ink - this studio uses only oil based inks so this has set a precedence and I needed to explore the media and how it responds to painting direct onto a plate and passing through etching press as well as getting to know the environment.

In preparation I had experimented in my studio at home with some hand printed monotypes using oil paint, linseed oil and turps. With no particular referencing to my sketches three experimental images were developed working direct onto a long horizontal perspex printing plate.  This format echoed the cross cultural referencing of my proposal whilst allowing me to be expressive with mark making by painting directly onto the plate.  These were then hand printed onto rice paper. The paper responded well to the mark making. The images progressively loosened up and were less detailed. In the first image everything was there - representational and pictorial.  The second image has a softer and more ephemeral feeling with the mark making on the right hand side being particularly beautiful and detailed.  This composition created more interest because of the more airy space on the left - there was overall a greater variety of mark making, both in density/sharpness and contrast with the composition being understated.  The last image was generated by 'cleaning up process' - using remnants of oil on palette and linseed oil and playing with them on the plate. Tonal values were similar all over and although I responded to the abstract composition I felt it needed developing with darker areas. Overall, it was an interesting exercise in getting to know materials using a figurative approach.  I would like to pare down and simplify imagery but have reservations in my ability to accomplish such an outcome.

The images below, presented in order of creation were made with oil painted direct onto zinc plate and passed through etching press.  Keeping to a horizontal format they were referenced from my brush and ink sketches. I was able to retain a dense black which echoed the Sennelier black Indian ink used in the sketches.  Some of the more detailed brush marks were lost which could be the result of running through the press on dry 150gsm cartridge off white cartridge paper.  I need perhaps to print on damp, heavier paper for more detailed results.

The Ancient Lightening Oak

The following image was worked from imagination, rather decorative but communicates on several levels both in narrative and formal qualities. Could perhaps work better if not quite so central.

Resilience

The following image has been referenced from one of my brush and ink sketch.   This composition with its simple shapes also provide 'a journey' for the viewer. Again, there is a reservation in that the composition is rather central and has been reversed by the printing process.

Untitled

This final work became overworked with heavy use of turps to lighten and block out areas.  Lacking in contrast but useful to see how different effects of brush, ink and turps can produce expressive mark making/patterns.

Boundaries

Outcome:  There is considerable further exploration to be done in regard to materials and printing process.  Dilemma as usual is to choose which outcome to work towards - art book (size, format, studies, text)/fine art images that could be transferred onto 3d objects as per proposal?  Also a question has arisen as to choice of medium.  At present I am recreating brush and ink sketches in print form! Why?  Answer, both these media are directly linked to Eastern traditional materials used in making art. I remind myself that they are two entirely different approaches which both offer a unique and dynamic outcome.