I have thought of two new modes of practice within printmaking specifically with etching and mono printing

The first mode of practice is on dry point etching. I would etch a drawing onto an acrylic plate an example being a face but instead of traditionally inking up the whole plate I would use a think ink card to selectively spread the ink into certain areas. I would then scrub away the ink only in the etched areas and leave the rest to be printed along with the picture. The result would give me a partially revealed print of the face corresponding to the movement of the ink card when I had spread it. I can see how this method can also be used to create more exciting back rounds in etching by inking up all of the etched areas as well as some of the area around it but not the whole plate and rub away the excess ink only in the etched areas again leaving the ink around it to be printed. This could solve problems to the tediousness of creating big blocks of darkness in etching and also dark back rounds would be easier to print.

My second mode of practice is on mono print. A much simpler concept of making marks on the surface you use to spread your ink. So the end piece is actually where the ink sits which has to be an acrylic plate. In other words the canvas is the acrylic plate and thus has to be photographed as you would need to wipe it away so other people can use it to print. It was a happy accident discovered when I had to create quick prints that combined two contemporary artists works together. Firs roll some mono print ink on a plate and start doing your mono prints but the only difference is that you don’t re-ink after prints. The goal is to create as many prints as you can from it before it dries out. Things to consider are that the individual mono prints you create aren’t the main artworks your creating any more and becomes more of the process of an artwork. The mark it creates on the acrylic is what it contributes to the end product. The factors surrounding a good mono print need not apply anymore as dabbing the ink so its not too wet isn’t essential. The fast prints that are made is not our main concern however the pressure needed when making these mono prints to actually mark the acrylic might need to be higher. It all depends on how much ink you have rolled. What we should get is white markings of different prints overlapped in one space. A chaotic composition that reflects truly on the relation between process and product.