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  • Writer's pictureChiara

What's Next?

Updated: Nov 13, 2020

Today is the day I print my final layer. The block is carved and ready to go. As I’ve been preparing it, I’ve been thinking about what to do next. The key block contains a lot of the fine details from my image. If I print it onto some fresh paper I will have the opportunity to play with hand-colouring using gouache and watercolours. This is work I can do when I don’t have access to the studio. It also gives me the chance to play with colour variations and learn about layering colours in a different medium. I also have a couple of “leftover” blocks. I’d hoped to play with a layer of woodcut in this project. When I offset the print for the lino for the Caustic Soda etch experiment, I also offset the print onto a piece of plywood. Then there’s another lino block which I offset before I understood how much rinsing would be involved for the etched lino block. It’s mounted onto 3mm greyboard, whereas the one I used for the Caustic Soda was mounted onto plywood. Both of these spares have all the registration information, so I can carve them and experiment with a three colour multi-plate print.


As far as reduction lino goes, I have a couple of images in mind. In this print, I didn’t follow the usual progression of colours: starting with the lightest and finishing with the darkest. When I made that decision I hadn’t fully understood the implications. I’d like to make a print following the usual order of colours before being adventurous again. And I have a monochrome print in mind which could also be printed in colour or hand-coloured later. That should be enough to keep my busy for a while.


Finishing this project and preparing for assessment is also an opportunity to reflect on how my learning from this subject will inform my future work. I picked out these two prints as work which I would like to pursue beyond the technical demands of the Print (re)Generation workshop objectives.


The print on the left is from the second layer of the reduction lino, printed on black Stonehenge paper. It is dominated by the detailed wing image, with the figure only hinted at through the eye details. I have cut out the shape of the white of the eye so that it will appear white when installed agains a white wall, or form a shadow area as it does in the photo. The print on the right is based on the third layer of the reduction lino (a second layer of the blue-black ink with carved details giving hints of the clothing and hair). This is overprinted with the Caustic Soda Etch block which disrupts the flat black surface with its organic textures. This print is mis-registered and marred by stray marks in the borders, but I find the understated treatment of the image, and the randomness of the marks exciting


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