Take one failed ghost print (a second pressing of a monoprint with no re-inking) and add some coloured pencil.
Add a little more coloured pencil and a little more each time it will burnish the colours underneath building a nice patina of marks.
Add a few extra marks to suggest the patterns on the tree bark.
Adjust contrasts a little by digital means.
Result: either a good starting point for a new painting or something that could be digitally printed as a finished piece. Of course it is very likely that this piece will be filed into a sketchbook where it will either mature resulting in a mellowed, full bodied and well thought out concept or it will be chucked out never to be seen again like yesterday's moldy bread. The jury is out.
|Winter II monoprint & coloured pencil 16x19cm ©2013Lisa Le Quelenec|
The proof of the pudding: Whilst I don't think this will end up as a digital print, I think the original is far to rough to scan well, I am intrigued by certain aspects. I really like the way in which the trunks run off the bottom of the page - they seem to disappear into a snowy foreground which is somewhat topical at the moment. (I saw at least two flakes fall this morning which is a bit of an event in my part of the world.)
For anyone interested below is the first print that came from the plate. I'm still trying to get to grips with getting the consistency of the new inks right for successful prints but I am having a lot of fun trying. I will have to put in another order for paper soon as I am really getting through it. Keeping things simple and thinking in very basic shapes and marks is the way forward I think for the moment.
|Winter monoprint 24x17cm ©2013Lisa Le Quelenec|