I developed my printing processes further through ink bleeding- both the printing and the bleeding work well as first steps but require further and further adjustment to become what I have in mind. I really enjoy the textured look of the ink bleed, it looks like a kind of digital mould and lightens the colours in a way that is useful for re-scanning at higher pigment densities later. I also found a myriad of different effects able to be used on the inks for different textures and greater control of the effects detailed in my book. This makes for a process that I can actually utilise consistently for desired results rather than rely on the luck of chaotic water paths, while still keeping the chaos that makes ink washes and bleeding appealing. As a process it fits thematically with the grunge and grotesque of TMA, and allows both abstraction and precision.

Week 7 update- developing my collage digitally allows for digital photo-layering capacity for rapid changes as well as large scale shifts in contrast etc. I really like the more digitalised version but the analogue techniques are impractical to replicate digitally.

Digital allowed me to use a placeholder/ overlay edit of a head to add to the clarity of read of the piece without destroying the original collage. To finish this I think I will create a new head which I can then composite over the top. However, the relatively monotone head works compositionally as is compared to the relative complexity of the original. Working digitally allows me to clarify the image a lot more to work more clearly as an illustration. Although I do like the lower contrast. I might end up giving rim lighting to even more of the characters to show them off more in response to peer-critique that they are quite obscure.