Enchantment Version 2

Version 2: Softcut Block A4

I sketched the same scene onto softcut, rather than risk cutting the first one and regretting it- I wanted to try approaching it with more open space, leaving outlines in relief. This would leave more potential for introducing colour in various ways, such as through monoprinting, or chine colle.

This is it with a bit of scratching into the ink.

Chine Colle

I went a bit silly with the tissue paper at first, layering it in strips in the open space, the area where the narrative takes place and which was meant to evoke a magical feeling. The strips of tissue work ok, but they create areas of relief themselves which stop the ink going on smoothly where they end, so the result is messy. I’ve already been through this kind of over-complicated approach to using tissue paper in my experiments with the Gauguin still life, and my conclusion there was that less is more, something I seem to have forgotten momentarily…

So I went back to just using one colour of tissue that would shine through the open area and light it up in a different colour.

At the same time, I was wondering about adding text. I wanted something simple, suggesting a fairy tale, but not actually telling anything, so came up with “Once in a pool of light”. Having no verb, it doesn’t say anything about anything happening, nor does it mention any people: just the circumstances, with the rest left to be told by the picture. I felt it added a dreamy, timeless atmosphere, so added it at the bottom, in simple handwriting in a fine line, as if written with a pen.

I only have primary colours of tissue paper here, so chose to print it in yellow, to emphasize brightness and sun, and in blue, to echo the cool moonlight feel of the previous print. The tissue is delicate enough to pick up the writing clearly, and also creates interesting texture on its own, additional ripples on the water, and cracks in the colour where it has wrinkled. It looks like the cover of an old leather-bound book. This is simple but I like it.

I also have a selection of coloured tracing paper, one of which is silver, so I printed on that too. It has no wrinkles, being a firm paper, and it has the advantage that the colour, and hence the mood, can be changed by varying the colour of paper placed behind it. It’s also shiny, so changes according to the light source.

Here are some variations using different colours behind the print.

It was actually here that I first thought of combining the tissue paper and the tracing paper. This picture uses the same combination as the Facebook print- white ink on blue tissue, overlaid with rainbow-rolled (white – pale blue) ink on clear tracing paper. The wateriness of the colours and the depths suggested by the layers seem to suit the subject matter.

Lino- and mono-print

This version is a plain print in a single colour printed firstly on Chinese calligraphy paper and then on plain drawing paper. After the inking, the colours were added by brushing colour onto the plate. This has come out rather insipid. Perhaps it’s the water-based inks- they dry quickly in the heat.

Linoprint with inking

This version is on mulberry paper, very soft and absorbent. The colours have been added by painting on drawing inks with a brush. I diluted them so that they wouldn’t jar too much with the linocut. This is probably my favourite one of them all. It, again, has the look of a quite faded old comic book or children’s story book, and so fits the retro boy’s-own-adventure feel I was after. The absorbency of the paper creates a much softer  and more even finish than the dry brushed inks in the versions above, and so the atmosphere is gentler as a result.

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