When making the textural backgrounds for bluebirds I found it a really easy and steadily productive experience, but for these, despite plenty of reference material and practice sketches, fish scales were particularly hard to translate into print. It was also very difficult to predict the texture created on paper when applying it to the plate. Set one being my least favourite set. I spent a lot longer time on all other sets which took a far greater concentration and experimentation. I ended up creating a colour palette thinning down the paint with oil and white spirit allowing me to paint on the ink, which not only allowed nicer textured but increased my amount of control. By the final set, with increased control, and plenty of practice I created a print I was happiest with, this included a combination of rolled on ink, thinned paint brushed on and reductive marks. Due to complexity of the designing these prints were my biggest challenge but, after reflecting on them I do think eventually I was able to successfully imitate a goldfish scale texture. The composition of all these prints are very busy and contain a lot of detail so I’m hoping they do not clash too much with the delicate line work of the fish.