Done with monoprints for now

Savannah landscape, water-based inks on A3 paper (approx 12 x 16")

Within the next few days I'll be sending off the first assignment of the Printmaking course I'm doing. The assignment is all about monoprinting. It includes nineteen prints selected from a large number generated during the projects. I have gone in a few weeks from knowing nothing about monoprinting to being an informed beginner. I love taking prints by hand and then carefully lifting the corners to reveal unknown surprises. I love the velcro sound made by rolling up oil-based ink.

I’ve learnt something about the history of monoprinting, and something about what contemporary printers are doing with the monoprinting medium (boy, they work big!). I’ve discovered Milton Avery’s landscapes which appeal to me very much and are a definite inspiration/influence. Unfortunately I didn’t find any of his prints but his paintings are very much to my liking.

Monoprinting seems to be very compatible with painting, it's a natural extension of the painter’s art. I’ve enjoyed this part of the course enormously and could linger on it for a longer time.

More monoprinting

Click to enlarge

These are all oil-based ink. The one on the left is from a drawing done in 2002 (here). It's back-drawn over another monoprint from yesterday. The one in the middle is a painted monoprint from life, and the seated figure on the right is based on a painting done in 2004 (here). It nearly came out well but unfortunately the paper slipped while rubbing the back of the print. I'm discovering the endless permutations of monoprinting -- taking the first print and then a ghost because there's still some ink on the plate. Then there's the leftover ink on the side, might as well use that up, so add to the plate and go again. Dud prints can be used as the basis for later prints, or torn up and used for collage, so nothing is wasted.

Monoprint experiments

Today I took a break from painting and had some fun experimenting with monoprinting. I used acrylic screenprinting ink which is quick and easy to use and to clean up, but harder to control on the plate than oil-based inks. The plate was a nice thick piece of glass with polished edges and I have a stack of old blank letterheads for taking trial prints. On the downside, I found that an image which looks bright and vivid on the plate may lose some of its vitality on paper. But overall it's a great way to explore the formal aspects of making art. Plus, these are very amateurish efforts, I have a ways to go to get one good print.

Amendment, Sunday June 7, 2009:

Is it "monoprint" or "monotype"? The terms are often used interchangeably but the purists prefer "monotype". Here's what Monoprints.com says:

"The two terms monotype and monoprint are often confused and need clarification. A monoprint is a print created through any technique (lithograph, etching, woodblock, etc.) that is altered after it has been printed. Each print is different from the other, as the artist works each etched or worked plate individually, adding color or wiping the ink differently each time a print is pulled. A monotype is the printing of an image from a clean, unworked surface containting no scratching, carving or drawing. The main difference is that with monotypes editions are impossible to pull."

The distinction between monotype and monoprint is relatively new, however, dating back only to 1978 when it was introduced by exhibition curator Jane Farmer (info from History of the Monotype by William Jung).

Endings and beginnings

Ghost print of a monoprint, letter-size paper, oil-based inks

Last night I finished essay No. 2 of 2 for this course, on "Illusion and paint handling". It feels great to have it out of the way. I've been researching it for months and writing it for weeks, including paring it down to fit into the word count. In these painting courses I'm better able to predict when an essay will be done than a painting. Does this mean I'm in the wrong field? I still have a lot of logbook stuff to put into a coherent form but the essentials are in the notebook. So, nose to the grindstone, the end of this tunnel is in sight. And I'm so looking forward to getting onto the advanced painting course, which I've already signed up for and which is really exciting, and also the printmaking course which I've also signed up for and which is even more exciting. Last week I sneaked in a couple of rank beginner monoprints and was transported. Such possibilities! 

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