OUGD406// License to Print Money 03

Research into traditional print methods //

Screen Print //

Screen print is a traditional silk screen process, created where an image is exposed in a lightbox and infused onto the screen. Once this process is complete, apply binder and a tad of ink, mix the chosen colour and apply with a squeegee. This process benefits high quantity prints, alongside giving relatively consistent details. However, there are limitations with screen print at a smaller scale, I feel this may become problematic as I only plan for my bank note to be small, possibly containing text.
I may screen print a base layer to incorporate new techniques, yet I feel the effect could be as equally created through a simpler method.

Mono print //

Monoprinting has never been a favourite of mine, yet feel the rustic qualities created through the smudges and imperfections may add a natural quality effective for the content I am portraying. Mono print works by blocking out sections of a inked pallet and rolling through a traditional printing press. It allows you to print on a range of textures and stocks and in a variation of inks, including metallics and super thin/thick surfaces. However, this would mean limited ink to avoid darkening at small scale. Furthermore, another process such as foiling would need to be added to achieve a professional look resembling a real bank note.

Lino/Wood-print //

Exploring woodcuttings and lino in a stamp effect- this will be easier to manipulate and rotate for best effect. This process would involve carving an image backwards into a piece of material, either plastic or wood in order to preform a resist print. Lino print allows crackly textures and subtle imprefections which may hopefully connote further destruction of the world. I have done a reasonable amount of lino print and feel fairly confident technique.

Simplistic use of lino print. Unsure if 9 individual lino's or one large set, illuminating the white area and overlaying onto printed coloured dots. Either way, very effective and something to keep in mind.

                                     
 Lino cut problems and techniques

Foiling //

Alongside lino print, foiling can create a sleek quality if wanted and is something I have experimented with in the past. The addition of foiling can add a sleek, professional appearance to an abstract image. The subject of foil needs to be pure black ink in order for the foil to be printed on, subsequently merged.

 

After concluding the use of lino print, foil and letter press the most appropriate, I tentatively lino etched three small designs. As lino print is a resist print, it was imperative to create the scene backwards in order for the composition to align.  I found creating the curvature in the lino really difficult, I am conscious that the lines are not deep enough to show through a full painted roller- perhaps considering mixing lighter tones or half applying to create a rustic effect.

Instead of carving into the negative space, I plan to cut a fine line around the shapes perimeter, then carve into that where appropriate. I feel this adaptation at linoprint incorporates other tactile practices, suggesting a rustic primal nature. The heavy textured lines are intended to create a soft appearance, highlighting the beauty of the forrest. I plan to use a diluted thin layer of paint instead of thick printing ink, hopefully allowing a softer texture to be also visible.

Lino Print Process //

After cutting out the individual carvings, I experimented with different processes of applying printing inks with the intention of creating tonal qualities.

Print/Paint application process. The oil shown is used to clean the glass table, plates and rollers prior to soapy water. I tried to apply little quantities of ink through the roller yet they were constantly too dark. Instead of carving deeper into the lino I chose to roller a thick layer of paint and then ghost print the remainder of the ink on test samples, creating some really interesting looks. After a while of each print becoming slightly clearer, I 

Selection of coloured ink. As traditional print allows you to be more exploratory with metallics and colour pallets, I wanted to utilise this and include a subtle pale gold mixed with green to emphasise traditional processes. Ink is applied to the clean glass surface with a metal pallet scraper and rolled on in an upwards motion, allowing even coverage and a smooth cover of ink.

Experimenting with stock choices. G.F. Smith including Takeo Yomoshi in 118gsm, creating wafer thin textures. As my subject content is regarding deforestation, it was naturally paramount to used a recycled stock. I also opted to print on G.F Smith Parch Marque in 250gsm, Suffolk Handmade paper in 60gsm, Sweedish Handmade paper in 60gsm. All stocks bar Parch Marque are 100% recycled, including the handmade papers.

So far the process has ran quite smoothly, the textures created are what I was hoping for yet the bank note is still very plain and boring. On top of this I plan to letterpress and foil, adding two more textures both sleek and crisp to add a professional finish.