Screen-print testing in the studio on papers. Trials on Japanese papers to see how they respond to the ink before they are stitched. A couple of screens did not expose well as the Japanese papers were not transparent enough/the exposure wasn't long enough. I have exposed with tracing paper and printer paper before but not in this studio so I was reluctant to push the technician out of their comfort zone. I used black ink and then as it ran out I blended in white to create a variegated effect and eventual subtleness of the print in white on the white paper. Time was limited so I managed 20 pints on the Japanese papers.I also created 3 'play' prints on standard A3 cartridge paper making noise by moving the screen around the paper haphazardly between print layers, I also did this while the ink was wet so ink was picked up and moved by the screen in the masked areas.Screen-printing seemed like a natural process for work lead by repetition and meditation. ink, print, repeat. I enjoy the quiet of the process, but also the way it can create visual noise through layering. However the prints themselves feel quite lifeless, flat and uninspiring.Initial thoughts are for the screen prints to be used a 'noise' or background, perhaps have elements of the fractures drawn out in stitch, embellished or embossed by the thread. Or to use them to create book forms, perhaps fracturing the pattern down further through folding.I opted to use a far more complex fracture for the screen printing, lengthening the process due to time taken to draw out the patterns. Perhaps a better option would be to screen print the simplified fractured patterns as overlays, but this does not sit well at the moment, they feel precious, like they need to be protected... perhaps even... 'elite', higher in status than the other fractured patterns and therefore tended to in a different manner.