Preparing the final prints which would be made into an artists book, I referred to my colour explorations with collage and using acrylic ink coloured some papers using a brayer.
These were visually pleasing and potentially more exciting than a full page of collagraphed stitch and texture in the same colour, especially in carbon black below left which started as a rather flat value of grey all over.
Adding colour helped to improve contrast
and layering prints in different colours on a Daler-Rowney smooth heavyweight paper was particularly pleasing, giving a slightly sharper contrast in line and marks.
Conscious that I would need 2 x 8 sections for the first book, I tried to ensure there was some harmony between the pages in colour and print on the front:
and the reverse of the pages:
Being critical, I was a little disappointed that some of the intended orange was rather more yellow. Although tested before printing, I found when printing with a very thin layer of paint, the yellow was more evident than the orange.
Nothing was wasted, when inking up scraps of stitched fabric, I positioned paper to take advantage of the negative print, below left and right. Top right below and the background above shows the last remnants of ink on the plate sprayed with white spirit to create a pale speckle.
The following A4 on textured paper has some lovely contrasts in value and is made up of many negative space prints and some additional prints on tissue.
The more printing I did the more practiced I became at layering the stitched fragments. Delighted with some areas of the print, I would, in future, be more aware of the edges of the pieces of fabric. The distinct line created by the edge of fabric cut roughly or carefully with scissors doesn’t always work well as it draws attention away from the print texture. Having identified this, overprints were placed to blur the edges. Torn paper edges are an alternative. Larger stitched pieces could be used with newsprint paper masks. Blank areas can be marked with scrim, fabric, a brush, solvent can be added to create speckle.
The finished prints are a reflection of all the printing skills gained during this course, monoprinting, collagraph, with and without paper, fabric or stitch as masks, using the roller to ink background, off-set printing with the roller, printing by hand and press, inking the cloth with a plate through the press and directly with a roller, the negative and positive of stitch and shapes.
Next, to transform prints into books….