Banknote Production

Unfortunately with letterpress I won't be able to use either Colliseum or the Wonka typeface, but as mentioned in feedback perhaps going  to with a classic serif typeface will add to its grand gold expensive look. I will attempt the letterpresses on just my gold stock to practice and see how it goes on to each stock as they have different coats to them to ensure I don't mess up my final ones.

The higher contrast of the stock and paint lowers the quality and effect of the lino print and displays the flaws which I am not wanting to display and doesn't achieve the tonal combination and metallics I want to compliment each other.

My more detailed side using the flower inspired design doesn't transfer swell as the solid grand shell pattern, although both are ambitious the stock and paint choice gives off a antique speciality feel to it. 

A unique quality to traditional print is that you won't get the exact results each time, and it is present from my experiments that I tried using different amounts of acrylic in which more worked best as I perhaps carved not deep enough. Out of the few stocks I printed on to, the metallic gold ones work best in complimenting the gold acrylic as both metallics create even more tones through their shines and the acrylics textured drying adds decadence to the piece which equates to the speciality and worth of the currency and its hierarchy. It is becoming very much an art piece which expresses the speciality and rarity of the currency, like a decadent opulent art piece in a gallery that is admired by all. This relates to its golden ticket inspiration through stock and paint choice, but also the rarity and specialty of my piece. I now plan to try letter pressing which I am quite worried about and want to be very careful of as I don't want to mismatch the theme it is manifesting already.