Do you see what's "wrong" with this image? Well, two things as printmaking goes. The plate was too heavily inked and when printed, it skidded beyond where it had been placed. You can see the line made by the double impression about 3inches from the top.
I tried obliterating the line with pastel, but that made it worse, and as much as I loved the shape of the image, and the depth added by that top 3 inches, I reduced the image to this:
Does it work for you? I'm still not sure, and hence, no title has been given yet.
The other "mistakes" which are incorporated into the image are the stippled marks over the brown shape of the hill. That too was the result of the plate skidding across the image.
15 x 15"
pastel over monoprint
Raspberry Sky is one of the few pieces that lost some of its intensity when drawn over. Though there is definitely a glow coming from the page, I feel its spontaneity was reduced. It has a name because it is actually very much like a raspberry, sweet and tart at the same time, so I don't want to pass up on its innate irony, but I do wish I had preserved the mountains as they were. See print (before pastel) in lower right corner.
Probably the most worked (over-worked?) piece of the lot, this was one of my very favorite pieces in its monoprint stage, but was lacking "something." (See above, top row, middle image.) Was that "something" ever found? Not sure, but dare I admit to rotating this image twice in its development. This was also one of the most difficult to photograph, and the picture diminishes its intensity. To keep or not?