This was allowed to dry. Using masking tape I hinged a piece of Masa paper to the edge of a an equal size piece of paper (the registration sheet) and then centered the plate and drew a pencil line around the edges to mark it's position. A fine mist of water was sprayed over the paper and then I folded it over to cover the plate. The moisture on the paper will reactivate the watercolour pigment which will probably have dried before being printed. Using the back of a metal spoon I used hand burnishing to transfer the reactivated watercolour onto the underside of the paper.
I then folded back the paper and removed the plate which I washed clean and repeated the process with coating the plate with the diluted dishsoap and applying a new layer of watercolour. The plate was again set into the pencil outline on the registration sheet and printed again using hand burnishing. I repeated this several times to build up a series of layers of colours.
The print is a bit organic in it's composition and the layering of colours created some interesting effects.
This is the plexiglass plate with the final colour (dark indigo) painted on the surface.
This is my second study and is a that uses a process of removing ink.
It was created by first coating a piece of plexiglass using a brayer coated with a thin layer of oil based black relief printing ink. Ink was removed from the surface of the plate (here is where the subtractive comes into play) using a variety of tools that included the pointed end of an old paint brush, q-tips, wood toothpicks and my finger tip with small bit of tissue wrapped around it.
The inked plate with details created by removing ink using a variety of tools.