The coursebook suggested that we approach this project by exploring colour and combinations that we really enjoy, complementary and contrasting colour schemes. Being winter at the moment, my drives to and from work are often lit by the most fantastical skies, and an artist that, for me, really captures these incredible light shows is Rikka Ayasaki. I took a couple of paintings by this Japanese trained, Paris based artist and attempted to copy them with gouache in my sketchbook, paying particular attention to the palette. The colours are broadly in two contrasting groups, one orange based and the other turquoise based, with many close complementary colours in the mix. I got used to applying the warmer translucent paints as a ground and sponging the opaque pastels and greens on the top.
I thought I would begin by working with a lino cut that I had made for a previous project, and used the final cut of my sunset reduction method piece. I simplified the palette, and made a few versions of the final print, mixing up different proportions of each colour, and different colour overprints. An example of this is photographed below. I printed with Acrylic and block printing medium, and painted with acrylic paint on it’s own. I decided that the green wan’t strong enough, and that the purple tone would look better as a deep violet. As usual, I kept a few notes on the recipe for each colour I used.
I rolled out blocks of violet, pale turquoise, and a graduated palette of the other colours on a piece of glass in preparation for making the initial monoprints.
I started by making painterly monoprints by stippling paint on with a stiff brush, and wiping into it with a silicone tip. I moved on to rolling broader strokes of colour, taking a bolder print, then rolling the colours in to each other for a more blended ghost print. These worked particularly well once the linocut was printed on top. The background monoprint also needed a fair amount of the deep violet to hold the completed combination print together.
My favourite prints were made by masking part of the inked plate with a torn piece of textured wallpaper that had been rolled lightly with the same colours. This worked with the horizontal cuts on the linoprint to convey the feeling of reflections on the water.
I find it interesting how different this print feels compared to the original reduction method print. The broader, brighter palette and looser marks of the monoprint have given it energy, rather than the quiet, reflective qualities of the original. Technically, registration was easy here as the placement did not need to be millimetre perfect at the edges to be successful.