4 Monoprint: Resolved works for Monoprint

Part One: After creating the four works, I took them home and started thinking about how I would install them together and made some decisions to print a few additional elements to tie them together when presented side by side. I placed some of my dry stencils over the edges to test out where I would place them back in the studio. Back in studio, I mixed up some white and a dusty pink colour for my additions to the prints - some of this process is documented below.

Planning for installation

Considering displaying the second print as an inverted image (in the end I didn’t like this for final install, so decided not to) and thinking about where I’d print other elements to tie the two together.

Planning for installation 2

Thinking about displaying these two side by side, want to echo the moon over to the left side and carry some of the trees over across the left edge too.

Playing around with where I’d place stencils back at the studio.

I want to eliminate some of the high contrast of the white, thinking about printing over some of the bottom edge to reinforce the feeling of trees grounded and sitting in a landscape.

Printing the elements

I mixed up white ink with transparent white to print the echo of the moon and the tree line over to the left as planned - I think I mixed too much of the transparent as I had to ink up the plates three times to get the level of coverage I wanted.

Printing a dusty, light pink on my darker prints to soften some areas and unify them a little more with my ghost prints.

At the time, I was still considering presenting an inverted print below so was trying to mirror the edges with bark detail and inverted trees.

Part Two: The resolved works, Untitled I, II, III & IV

Overall, I was happy with the results from my experimentation. I preferred my ghost prints and the softness of colour, detail and embossing that came through in them, so would like to lean more into that if I was to continue exploring monoprint further. Through the process of making, I developed a narrative in my work of at once finding a sense of peace and sadness in the natural environment - contemplating on human impact on the environment as well as human need for nature as a source of healing and nurturing.