COMA weeds continue

Not quite a series of disaster shots; but as ever, art does stuff that you never quite imagine or anticipate, and then have to adapt to.

I tested the ink on a spare canvas - and it was bold and black. I started writing on this canvas and it was all washed out and grey - something was repelling it in places perhaps?  Once I'd made a start, I just figured I'd keep going and see where I ended up.

The contact held pretty well and the letters went down fine - its such a free and friendly script to play with. In the end I was OK with the variegated ink - it could almost be considered a design element if you half-close your eyes and think positive thoughts.

Here are some shots with the contact still on - I like the way the ink over the top leaves a residue on the contact. Why is it that it is so often the weird things that appeal the most?

After I'd done the writing I was worried that because there were quite a lot of large white spaces left, that the form of the weed (initially done in contact) wouldn't show up at all well when the contact was pulled off. I thought that the image would bleed into the surrounding white space and become quite non-descript and ill-defined. I spoke to Barry about the possibility of tracing a fine black line around the image to help it become more visible and 'legible' as weed, and then gave it a go.

So far I think it works, altho at times I am tempted to make the line darker and more obvious, testing the balance between 'obvious' and 'weak'.

And just to prove that if I can do it once, I can do it again - here's my right index finger AGAIN after netball last night. So far, initial reports are no fractures, but maybe more chipping of cartilage of bone. Barry is now chief helper in the studio when cutting, or carrying things. Hmm lessons to be learnt perhaps?