I started this exercise not knowing what to expect. I watched videos and did my research in to various artist but still felt that until I tried it I knew nothing about mono printing.

I started by gathering items to mark the paint on the plate. I gathered screw drivers, broken pencils, leaves, different paint brushes, lace, tooth brushes, rugs, bottle tops and other items that I cant remember now.

I bought some blocking paint and started by smothering the paint on my glass chopping board not realising that I didn’t need so much paint. Some of the marks that I was making on the plate were getting flooded by the paint so this didn’t quite work at first. I started to understand how mono-printing worked.

Above: this sample didn’t quite work as I placed to much paint on the plate. This sample doesn’t interest me at all as the paint looks smudge and the motifs are boring to me.

I carried on mixing paints, placing leaves on my plate and making marks with a cup the result was much more exciting. I began to explore the organic marks of the leaves versus my man made markings. I found myself interested in the abstract feel of this sample. I am pleased with the colour pallet too. I enjoy the monochrome colour pallet with the accent colour of red on the left corner and a splash of blue and yellow. The proportion of colours in this sample really interest me as I think they work well with the texture the leaves have created.

Above: I continued experimenting by first applying different colours and mixing them with my roller and then applying a black base and marking marks on the plate with a stick. This resulted in some of the colours under the black base coming through creating another dimension and a uneven texture. The outcome is unpredictable and I am not in control at all, which I find exiting and frustrating at the same time. I enjoy the top part of this sample where there is a hint of all the colours that lye underneath the black base. I found myself interested in the proportion of colours in this sample. Again the monochrome feel of the black and white with the splash of heighten colour really works for me.

What I discovered when doing mono printing is that the colour and the surface is never even. There will never be a flat even colour or surface and this creates texture and more interest within these samples. I could use these samples as a base to build on. Whether it is by drawing on top, stitching or simply by using them for collage. They would also work well as ideas for surface prints for fabrics. The quality of the paper has a lot to do with the outcome, I find. I would like to experiment with more different texture papers as this could add interest to the sample too. I enjoy how the yellow is coming through the orange and the white marks almost look like slits in the paint. At first glance these samples look like paint mess, it is only when looking into them in more detail that I start to see the beauty of mono printing. At times I wondered why go though all this paint mess (messy it is) when I can draw straight on the paper? The answer is because sometimes the result is unpredictable and you get marks that you can’t not achieve by drawing straight on the paper. The colours blend in a unconventional way, the outcome is raw and not over manipulated which is where I find the beauty. Sometimes my work can be over manipulated so this method takes away the chances of me overdoing a sample.

Above: this is a colour that I don’t often work with. Mono printing is dictating and showing me new colour pallets too. I enjoy the richness of colour. This time the green and yellow are dominating and the black is trying to push through. The small but vibrant proportions of blue are beautiful to me. The markings are almost like the markings of a peacock feather, interesting!

I am still not sure wether I am in love with mono printing but it is completely different to what I usually do.

After a while I got frustrated because no matter what tools I used and how I tried to vary the marks I got a similar results.

Out of all the prints in this exercise my strongest in my opinion is the one above. I am please with the leave prints and the marks of the cups. I think this print has energy and is vibrant. The frustrating but also the beauty of mono printing is that there is only one, if I wanted to recreate the same print it would be impossible. I have also learnt that my glass chopping board is just as effective as my jelli plate or a piece of card with foil on it. They all work just as well.

I transferred my print onto a simple cut dress. I am very please with the result. I think the accents of colour on the ivy on the bottom right of the front of the dress adds a lovely touch to the otherwise monochrome feel of the print. Likewise I think it has worked well with the accent of blue on the back right corner. The print has a nice balance of colour and pattern.