These patterns were all made with a cardboard applicator. I was able to recreate an effect of observed animal makings quite easily: 2029 giving the appearance of a zebra pattern, 2030: snake, or lizard skin, 2031: porkupine, and 2032: octopus.
I love the faded effect that appears as the ink runs out during application. The graduated tones could be achieved by graduating the density of stitch, or thickness of thread as in the blackwork stitching samples, either by hand or machine.
The side of a plastic card, applying bleach in an arc motion created a lovely feather effect in 2034. 'Hairy' textured wool dagged bleach across the page in different directions on 2035 gave the cracked appearance of elephant skin. A tin foil pastry case, crumpled and stamped into bleach gave the attractive mottled effect of leopard skin.
I love the luminous quality of the 'bleached-out' tissue paper. It would be interesting to explore ways of reproducing this effect in stitch. Perhaps heavy black stitching into a transparent of translucent material, or even stitching onto disolveable stabilizer to create a lace effect.
2037 resembles a porkupine like pattern. I used acrylic paint for this design, but the paint dried out so quickly, I had to clean everything off before doing any more. For the other monoprints, I decided to use a waterbased screen printing ink. This was easier to use and stayed workable for longer. I found the edge of a plastic card was best for making marks. Some softer materials did not make very defined marks, and so were obliterated when transfering the design to paper. I used a 'colour shaper' for the marks on 2037.