Proofing can render results

Seeking a perfect print is not my goal – or at least I am looking for a print perfect for my purposes.  With the few exceptions of print as end product, I have to bear in mind that stitch is to be added without looking superficial – or even worse, excessive.  For this reason I look at the proof stage of my relief printing as a possible source of material to progress.  I am looking out for happy accidents which make the image speak louder in its own voice.

Sometimes I am compelled to put (at least) two elements together: such as this figure

new body

and this background (street furniture in Oxford),

flowers streetwhich was altered thus when I thought of the figure.

patchedThe idea was developed when I had taken the idea of a grid as a theme/exercise – and so I elaborated onto the body.

body patched 1

This became the template for my relief plate, as I want the movement to be to the right.

Image1

The proof onto plain paper came out boldly.

print001

I had digitally printed the background onto 42gsm Murakumo Kozo Select White, which is actually cream-ish white.  Perhaps because of my being aware of the thin-ness of the paper I did not press enough – I hand burnish my prints – and the result was much fainter:

print002

I am delighted with the ghost-like qualities, and although I shall most likely print another, bolder version, I shall still consider the possibility of taking this proof forward to stitch.  The original design was one of a happy conjunction of elements, but now I think I might be approaching ambiguity of meaning as well – which would be a much more desirable outcome.

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