During a hangout with OCA fellow students, Mary Adams suggested just printing on a single sheet of coloured chine colle paper, saying it would be a worthwhile transformation. She was right.
The Gauguin woodcut overlaid with lilac tissue paper and then printed onto a purple/ blue paper now has colour variation and texture. The ink has a shiny finish it wouldn’t have on the coloured paper alone. The roughly cut tissue paper is an additional frame. The glue marks are obvious though.
Green tissue paper on white- darker paper over light, avoids the glue problem, and instead, the glued areas create colour variation.
I went back to what was left of my reduction print “Yellow Bag” and tried putting the solid shape back using tissue paper. It’s a bit weird but might work as a companion to those prints.
(No picture yet)
Then, despite having decided that the kneeling woman woodcut needed no more, nothing in the way of colour, I decided to try it too.
I used a pale coloured tissue as the chine colle paper- this was from a gift pack and was very crumpled, so it would exacerbate the worn look of the woodcut – and printed it on red paper. The irregular sticking creates texture and roughness, and I think this works. The red colour chimes emotionally with the subject matter.
Next, having decided that colour did work after all, I used abstract shapes to provide a pool of colour. The first was the flesh-coloured wrinkled tissue, torn into a rough shape that would only partly correspond to the linear outline and that would bleed outside the frame. It helps to focus on the figure, making the ink more shiny, but avoids “colouring in”, suggesting instead a presence that is not limited to the body’s outline.
This was repeated using red tissue paper on white. The torn edges contrast with the cut ones, and the rough fit with the exact one. The effect may be of a reversed spotlight, or drowning in blood. Anyway, I feel it has emotional power.