Monotype printmaking encourages experimentation through work, and the exploration of a large variety of art-making techniques that can be used to achieve your vision.
Look at the three experiments below.
Use them as guidelines. The goal is to inspire some new ideas.
Choose the ones that will be useful to you,
and continue working with the techniques you have already learned in the first part of this semester.
1. You can collage many things into your print, planning either before or during the process of applying ink to a monotype plate. This example starts with a finished plate; ink applied, it could be run through the press at this stage.
2. But, a last-minute decision to experiment can be fun (although risky).
Tear and cut a piece of paper that is somehow different from the printmaking paper.
The plan for this one is to use white rice paper on top of cream-colored cotton paper.
3. Apply glue to the BACK of the paper you will collage into your print. Elmer's glue-All is a nice predictable product; one that conservators can handle later.
4. Place the paper onto your finished monotype plate, with the glue side facing up.
The glue is going to stick to the printmaking paper, and the other side will receive ink from the plate.
5. Place the monotype plate on the bed of the press.
Put printmaking paper on top.
Put barrier paper on top of printmaking paper to protect blankets.
Run everything through the press.
6. Sometimes experiments are great, sometimes not.
This example worked, but the differences in color (of the two different pieces of paper) was not enough to make any design impact.
You can see the outline of the torn paper, where it slipped on the glue, under the extreme pressure of the etching press.
And, if you were to examine the print in real life, you'd see a slight color shift, but not enough to see in a color-weak internet photo.
On to the next experiment...
7. You can take a more direct collage approach, and use images printed by other means in your monotype. (images printed on inkjet, laserjet, photocopier, etc.)
Keeping those images in mind, ink your monotype plate.
Paint, roll, scratch, and work the plate as much as you want.
8. Cut or tear out the parts you will use in the collage.
Wipe or scrape out some of the ink on your monotype plate, so that the collage elements will show up in the final design.
Allowing for some overlapping ink will make an interesting design, so don't worry about accuracy the first time you do this.
9. Apply glue to the BACK side of the collage pieces.
Make sure to apply thin, even coats.
Any extra will be squeezed out by the high pressure of the printing press and (potentially) ruin your final print.
10. Place the collage pieces on the monotype plate. be sure to place them with the glue side facing UP, and the printed side facing DOWN towards the monotype plate.
11. Run everything through the press like usual.
Monotype plate on the bed of the press.
Printmaking paper on top of the monotype plate.
Barrier paper on top of the printmaking paper.
Blankets on top of everything.
Crank the handle and make a print!!!
12. This one worked a bit better than the last experiment,
but only with respect to how obvious the collage element is in the design.
The same thing can be done with drawings you have made, or with old pieces of art that you have lying around (as long as they are thin enough to fit through the press).
Let's try a third experiment...
13. Make a design on a monotype plate.
This one is a semi-abstracted landscape scene with simple mountains and sky created with a roller (brayer), using all the different colors left over from the last experiment.
14. Draw on a smaller piece of printmaking paper.
This example uses a different color pieces of paper for the drawing thatn what will be used for the main print.
The subtle contrast of paper colors will reinforce the presence of collage.
15. Tear or cut out the design to be collaged into the monotype.
Scissors and razors will give clean lines.
Manual tearing will make rough textural lines.
16. You may choose to leave the drawing alone,
or you may choose to add some color with a brayer (roller) or brush.
Feel free to experiment with both.
17. Hold the collage element over the monotype plate so you can get an idea of where it will be in the final design.
You can estimate (as in this picture),
or take a moment to make some small marks on the inked plate that will show you exactly where the collage element will be placed later.
18. Wipe away the ink where the collage element will be.
This will let it show through.
How much you wipe off depends on how much of the collage element you want to see in the final print.
19. Glue the BACK side of the collage element.
Apply a thin, even layer of glue.
20. Place the collage element on the monotype plate.
Notice the overlap of imperfect wiping in this example.
You may be as accurate or care-free as you like.
Be sure , however, that you are working with intent!
21. Run everything through the press and see the result.
22. This experiment worked.
The sloppy wiping in the blue acts as clouds.
The sloppy wiping in the red/green is a little more difficult to accept.
Keep experimenting, and see what you can make.
You can incorporate just about anything that is on paper:
newspaper/magazine clippings, drawings, pieces of painting on paper (as long as it is thin enough to fit through the press without damaging the equipment).
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