This piece started when I found I had a piece of perspex that was just a little long for the bed of my printing press. Enter the in-house art critic, the Dremel and a tiny circular saw attachment, and it now fits, giving me the possibility of doing prints that are almost A1 in size.
The ink I’m using is an oil-based printing ink that can be cleaned up with water rather than solvent (Caligo Safe Wash). The colour is Prussian blue mixed into my “leftovers grey” (leftover ink I keep in a little glass jar) to make it a bit darker. I put some directly onto the sheet using a palette knife, then use a roller to spread it out, leaving an edge that would become a white border to the print.
To create the image, I worked into the ink using various things to remove parts and create marks, including paper towel, a coarse-haired brush, and scrim (a stiff, open weave fabric). I tried not to leave any area of ink untouched, having learnt that these print as very solid, flat colour, which I didn’t think would enhance the sense of sea. I was visualising the tempestuous sea I’d watched last month as I did this.
When I was happy with how it looked and found myself fiddling with little bits, I put it onto the press, placed a sheet of dampened paper over it (the moisture in the paper encourages the ink to transfer), put in the printing blankets, and ran it through the press. I got so caught up in in all that I forgot to take any photos until after I’d made the ghost print (a second print done to use up any leftover ink). The paper was a little too damp in places and created a watercolour-type effect where the ink has spread; another variable I need to remember.
This is the print as it came off the press, with my hand for scale. It’s hanging up to dry using clips with magnets, out of reach of the studio cats.
There were two areas where the ink had spread because the paper was too wet that I felt dominated the image. The most obvious is on the horizon above my hand. I left the ink to dry before trying to resolve this. I first tried scratching into the paper to see if I could reveal some white, but the ink had soak into the paper and it was blue beneath the surface too. So I took out some white acrylic ink with the hope it wouldn’t be too different a white to the paper, and added some of this.
Here are a couple of close-up details, to give a sense of the variations in mark making. When I look at this, I’m trying to remember what gave me which mark.
This is the final piece, the biggest print I’ve every made. I like the dark blue, which I think conveys the sense of a stormy sea, and the sense of movement.
Whether you’d frame it with the edge showing or not would be a matter of personal preference; I can’t decide which I prefer.