Screen-Printing Preparation- Separation of Mark Making using Black Ink and Pen

Gestural and expressive mark making landscapes with black ink on white cartridge paper

From my previous experiments using Payne’s grey and yellow ochre watercolour washes with black ink, charcoal and metallic silver acrylic paint I started to distil further elements from this artwork. I explored marks made with black ink and translated some of the marks from the previous work while other marks were influenced by the continuing process of experimentation. While I needed to separate out some of the marks made for screen-printing, I enjoyed the process of mark making with black ink for its own sake. I particularly enjoyed the immediacy of the process, of the capacity to be readily influenced from one mark to the next, to alter the course of mark making as I went along.

Collection of mark making with black ink on white cartridge paper- Source material for screen printing

As I progressed, I produced a range of marks which I reviewed before continuing to make further marks. From such frequent review processes, I ensured that I had created a sufficiently diverse range of marks to choose from for my next screen-printing process. I wanted to make sure that I had a variety of dynamic line, texture and shape to produce impactful screen prints when layered and manipulated with hand stencils.

Collection of mark making with black ink and pen on white cartridge paper- Source material for screen printing

With the review process and use of previous artwork I separated out a range of preferred single line sketches and drawings using different black pens to produce a selection of lines for screen printing. Through overlaying different marks including line I was able to make a selection for screen-printing.

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