For Love Not Money part 9

The color monotype proof that I had at home was mostly dry, so I decided it was a good day to move on to the next step, overprinting the color with the key block. Typically this is done with black, but I wanted to leave the possibility of my collaborator being able to add darker colors to my design, so I mixed up a color somewhere between slate blue and navy blue. I rolled it onto the block, put one of the monotypes face down on it and rubbed the back of the paper. A typical result is shown above. I repeated the process with the other 9 proofs I had from Saturday.

The two examples above are the same ones shown last time, but now with the key block printed on top. The colors are a little different (value/hue/consistency of application) in each, due to the variable nature of hand painted monotypes. That variability also extends to the colors sometimes not quite matching up exactly to the key block borders, but that was expected. Kind of reminds me of some of my earliest woodcuts (my Montclair State years) when I took a more experimental approach. Some of the people in our critique group have actually suggested I let more accidental effects happen. When I return to the boardwalk series I'll also return to my careful watercolor system, but sometimes it's nice to try something else.

I left everything to dry. In a few days I go back and trim them down to the exact required size. At that point I'll choose which one I'm sending, address it, and send it on its way.