Film positives were again prepared using the Ezy screen transparency, and I kept to large block shapes and abstract designs.
Exposure times were kept consistent at 1.5 minutes, with the lamp height at 12 inches.
The results were more predictable this time. However the variable of the emulsion coat drying with thin / thick patches still provides for the unknown / uncontrollable element.
By using acetate plates covered with silkscreen fabric I was able to then employ stencil techniques to these plates to develop layers to the final images. Resulting in images printed using 2 or 3 plates. Chine colle and image transfer added other elements to the finished pieces.
I decided to draw onto the Ezy screen transparency using black marker pens. Fine marks were used to build up the image as well as larger blocked out areas.
The image was exposed to a prepared plate for 1.5min at a lamp height of 12 inches.
Wash out was a long slow process, and I have concluded that a hose with spray attachment is a definite requirement for this process. The longer the plate is in water the more likely it is to shed the emulsion layer and then compromise the image area. Water temperature needs to be warm also, as cold water reduces the ability to wash out the unexposed emulsion.
This success of this image was again reliant on the emulsion drying in a smooth layer of consistent thickness. (And again I would like to pursue a 2 layer emulsion process to achieve this.)
Another plate was made to print behind this image. Gel medium on acetate sheet. Shellacing of the gel medium is essential, otherwise the medium becomes tacky when inked up and the paper will stick to it during the printing stage.
To achieve a more successful outcome using finer drawings with this process, the preparation of the plates does need to be refined to enable a more consistent even layer.