Monoprint Workshop: Single Mask and Stencil

Mask and stencil in place; cartridge paper

Following my research into Andy Warhol I had the opportunity to take part in a monoprinting workshop, so I decided to use it to experiment with layering imagery and colours, and to work with negative space.  I chose to work with a single photograph taken at the photoshoot (for simplicity) which I cut up to create a mask and a stencil.  I decided to keep the colour scheme simple, choosing cerulean blue and crimson as primary colours, with the intention that they would ultimately combine to form purple (although this did not happen in this instance).

Mask in place, stencil removed; cartridge paper

The first few prints were not too successful as I was learning how thickly to apply the ink, how and where to apply the stencils and masks and how to apply layers of ink.  There are successful elements, such as the richness of colour and the contrast with the white paper, together with a build up of texture over subsequent applications of ink.  Unfortunately I was not as careful as I might have been so there are finger prints on some of the white areas.

Mask and stencil removed; cartridge paper

Same paper printed on twice with mask moved; cartridge paper

These were much more successful attempts, partly through practice with the techniques involved, but also as a result of building up layers of ink and better composition.  I particularly like the halo effect evident around the darker figure above and the textural quality of the blue ink combined with the same halo effect below.  The halo effect reminded me of the pin prick outline I had been experimenting with previously, as it gives the appearance of light shining around the masked area.  This could be an interesting area for development, to combine the pin prick technique with monoprinted or perhaps painted images to allow light to actually penetrate.

Second print taken without re-inking; magazine paper

Layer of ink, no new masks added; cartridge paper

I had hoped that the colours would mix across successive layers, but the colours simply sat on top of each other.  However this did give an interesting ghost effect when layering the lighter colour over the darker, as above.  The marbled effect on the stencilled area below is particularly interesting, although I have no idea how I achieved it or how I would re-create it!

 

Reverse of stencil added, no ink added; magazine paper

I have really enjoyed this process, and I think the work I have created has a lot of potential for experimenting with my aims and objectives such as: seen and unseen; positive and negative space; layering; overlaying; and superimposing.  I will definitely be developing this.

Note: when using the print workshop it is important to follow all health and safety rules regarding PPE and use of the presses (eg no open toed shoes, no necklaces, no loose hair).  On arrival in the print workshop it is important to put on an apron and to sign in on the board against the number corresponding to the one marked on the apron.