Printing my separate A3 prints, prepared using imagery from my ‘The Light They Obtain’ project, allowed me to get a visual sense for how my inky and textured elements of my publication would look like. It was an opportunity to see how the interplay of Teal and Flat Gold worked and any adjustments I should be making to the design of my publication and file preparation for when I am ready to print the finalised pages. In working directly with the printer, I became aware of how tricky it can be especially when considering alignment and density of the ink. I wanted to embrace the flaws and imperfections within the process but felt for this image in particular – I had to only accept the more aligned and perfect examples. The line work and high density of ink in areas resulted in prints I was unhappy with. I compiled a small edition I was more happy with however to show examples of for submission.
Due to the inconsistency in success of my prints, I have made plans to adjust my image for re-printing. Although disappointed and a little put down with the results of this print, I realised it was a challenge I had to test. My image is quite different from the typical Risograph prints you might see. Simpler graphic prints with less solid colour are more reliable as successful outcomes and is something I plan to consider when making new printwork. The process is known for its misalignment and imperfection, which is part of the charm and what I like about it – for this first experiment with my prints however, it proved slightly problematic!
Despite my disheartening outcome, I saw a positive venture in that I could still work with my prints. Even those with considerable misregistration were interesting to look at and I considered how I could potentially crop and re-purpose the images into new forms. Referring back to previous techniques of developing my work further, cutting and collaging elements seemed like a potential option.