Continuing the series of regular reports documenting the production process of the first and second issues of my artist book/comic Blotting Paper: The Recollected Graphical Impressions Of Doctor Comics, Chapter 1: The Ingurgitator and Chapter 2: A Blot On His Escutcheon, this post describes more aspects of the use of printmaking in the image-making process, this time in the creation of landscapes of subconscious terrain.

Dark glade-first impression. (Monoprint-© 2008 Michael Hill)

As documented in an earlier production report Doctor Comics finds himself in a heavenly yet shadowy and vaporous landscape as a result of an intense dream experience. In an attempt to express the inky, murky and stickyy feel of this etheric landscape he must traverse in search of an exit a series of monochromatic monoprints has been utilised.

Dark glade-second impression. (Monoprint-© 2008 Michael Hill)

This landscape can be seen more clearly, sequentially, as more light is added by means of a longer exposure to each successive image. Despite the extra light he still finds it hard to trace his way through.

Dark glade-third impression. (Monoprint-© 2008 Michael Hill)

These prints were made using an etching process with a novel method of printmaking that involves exposure of the design drawing to a light sensitive plate via sunlight that marks the lines on a gelatin coated metal plate. The plate is then rubbed with a stiff brush under running water to carve the lines, so to speak. This process is known as solar plate etching.

Dark glade-the etching plate following exposure to sunlight and wetbrush. (Design-© 2008 Michael Hill)

For a visual diary record and time-line overview of this project, see all of the BLOTTING PAPER production reports. Issue #1:   No.1   No.2   No.3   No.4   No.5   No.6   No.7   No.8   No.9   No.10   No.11   No.12   No.13   Issue #2:   No.14   No.15   No.16   No.17   No.18   No.19   No.20   No.21   No.22   No.23   No.24   No.25   No.26   No.27   No.28   No.29