After the success of my collograph print I made at the print workshop with Charles Shearer I decided to go ahead and do the rest of my Sherlock illustrations using the same printing method. I tried to keep the two other illustrations in a similar style to the first one I did, creating a sort of abstract composition of key visuals influenced by the story.
On the day of printing I had a considerable amount of help from the print tech, Jess. She helped me try out various ways of printing my collograph prints. The first one of the two I decided to go with just black, so it would pair well with my first print from the previous workshop. This print illustration was based off the story of “The Musgrave Ritual.”
Jess had found some old typography reference sheets that I could try printing on, I was weary about it first because I thought the sheets were too nice for me to print on. Once we tried it out, I was still unsure at first if i had liked how it had turned out. Once I had gone for break and come back tho, I realized how interesting it looked. The strange typography peering through the image gave a strange mysterious, atmospheric feel to the illustration.
For my last print, which was based off the story of “The Man with the Crooked Lip”, Jess suggested we should go with a colour instead of black this time. I choose a blue, slightly more on the greener side, to reflect the water of the Thames the coat was thrown in.
Something was still missing from this image tho, so Jess suggested we try out a stencil. She printed the leftover ink onto a piece of card so I could cut out parts that I wanted to be black. The card was too thick in the end, so we used the small pieces I had cut out to print black onto the print. Of course I had to choose the small fiddly bits to print black details.
The effort was worth it in the end. Printing some details with black really gave the image more depth and character, plus it was a good learning experience for me.