Mono-Prints

I used only black dye for my mono-prints and varied tone to create the image, with the idea of adding colour afterwards in different ways, for example screen-printing shapes over the top or machine-stitching thick lines in a satin stitch or with the cording/braiding foot. Although the printed outcomes were unexpected since on fabric the lines had a gradient effect whereas the paper copies maintained a solid colour. Also, the blue fabric changed to a murky grey after the finishing process, resulting in a duller background.

Monoprint on Fabric

Monoprint on Fabric

Working with these unpredictable results meant I fully considered and developed my ideas in order to introduce structure and control: Printing had left streaky, indistinct marks so I redefined areas with collaged stripes of paper and magazines, which looked bold and powerful against the print. I cut-out selected shapes to add light between the dark tones and highlight patterns in the scaffolding, which can be achieved on fabric by cutwork and reinforcing the edge.

Monoprint on Card with

Collaged Magazines

Monoprint on Card with

Collaged Paper

It was challenging to paint a sharp image freehand, therefore next time I could use a stencil or masking tape to produce straight lines and geometric shapes. The complexity of horizontal and vertical lines alongside diagonal, triangular formations is evident in Mark Francis work. I followed his simple colour palettes with limited application of bold shades so they appear more striking.

Mark Francis, “Syntax”, 2010

Acrylic, Oil and Resin on Canvas