Colour mixing and monoprinting

Following on from the introductory 'Find Your Joy' online painting course, run by Louise Fletcher, which I completed in June, I have been pondering on how to draw out some learning and apply it to my printmaking. 

I have always mixed my own colours from ink tubes, buying only a limited colour palette. Today I tend to buy Intaglio oil-based relief ink - and use white, black, poppy red, ultramarine, golden yellow and burnt umber, as well as extender. So I decided to try one of the exercises from the course and mix as many colours as possible from a small palette. I did this on scrap strips of Canaletto 300 gsm paper. On each strip I focused on 2 colours plus black and white. I've ended up with some amazing reference strips - like the ones in the photo, to remind me of the myriad colours I can mix with these.

Colour mixing reference strip - one of many!

As part of the process I also decided to use the mixed colours to create a series of experimental monoprints, using a perspex plate, mini rollers, printing onto damp Fabriano unico paper. 

Here are just some of the images I created. They were 'rolled' directly onto the plate from my imagination and were all intended as semi-abstracted landscapes. In some I tested out the addition of texture by scratching into the ink on the plate.

I worked quickly and focussed on the process more than an outcome. I was particularly keen on the harmony of the colours and the tonal variations I could achieve within a minimal colour palette. I was also happy with the varied textures and the suggestions of stone walls, foliage and movement within the landscape I was able to make using a mix of tool, from card to a chopstick!

These monoprint experiments were a powerful reminder of the importance of exploration and embracing the unexpected - going with flow of printmaking. 

Experiments with embossing

I've been planning to experiment with embossing ever since I got my Hawthorn printing press - but have not had the time. At last, Covid-19 brought lots of other activities to a stop and I decided to have a play.

I chose a very simple and small design, so that I could learn faster. The first design is based on the ivy climbing up the wall in our back yard. I've included here pictures of the ivy, the plate and the emboss itself. I kept the cutting bold and the contrasts strong. You can see the results here - just about!

My starting point

I used damp etching paper to create the emboss. After the ivy design, which I felt had been fairly successful, I tried an oak leaf, following a similar approach.

I then had a go at experimenting with adding colour - using oil based-in diluted with white spirit to reach a watercolour consistency, painted onto the plate with a fine brush. The colour transferred onto the damp paper, initially lightly, then more strongly as I built up the colour.

I particularly liked the more subtle examples and the blind emboss (no ink at all). I'm planning to come back to explore this further as a 2 part process - adding the emboss to a dampened oil-based print.

To learn more about my work, please check out my website www.carolynmurphy.co.uk where you'll find my gallery, online shop and links to my social media.