I've been learning more about using oil paints in my prints, or at least trying multiple prints and investigating all the ways that they can fail. I've felt some progress in getting a larger range of values, a problem that's given me too many flat mid-tone prints. Because of the process, even pure white oil paint appears darker than the white of the page in a print. To solve this and to get lighter tones, I've had to work with the thinnest of transparent oil layers, often by painting a section and then wiping all but the smallest traces of paint from the plate. 

If you compare a recent monoprint with the plate used to make it, you can see some of the changes in value that happen during the printing process. In both, the green of the leaves stay a similar value because of the thinness and transparency used. However, because the yellow of the dandelion relied on opacity, it darkened and flattened out after being pressed. A problem found and hopefully avoided in the future.