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An Introduction to Monoprinting

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An Introduction to Monoprinting AN INTRODUCTION TO MONOPRINTING Monoprinting is the process of cre a t i n g • Spray bottle individual prints using printing plates in • Blotter paper • 280 grit sandpaper combination with water-based or oil-based inks • File or paint. A monoprint is a single print, thus • Etching press, baren, spoon, rolling pin or brayer you have to re-ink your plate and re c reate your To prepare your piece of plexiglass for printing, image each time you want to pull a print. It is you first need to bevel the edges with a file before you simple, spontaneous and a fun way to intro d u c e remove the protective coating. Filed edges are less yourself to printmaking and to produce your likely to tear your paper when you pull your print, and own original prints! will make it safer for general handling of the plate. Next, remove the protective coating and lightly sand the surface of the plate with 280 grit sandpaper. This is AN INTRODUCTION to give your plate “tooth” for your materials to adhere to. After sanding, thoroughly wash and dry your Monoprinting is a direct and beginner friendly plexiglass plate before continuing. This will ensure printmaking process. There are two basic ways to that you remove any dirt or grime before printing. a p p roach monoprinting – the additive and subtractive D rop a small amount of Gum Arabic onto your methods. Either of these methods can be used with plate and using a clean cloth cover the plate in a thin, w a t e r-soluble or oil-based paints and ink. even coat. Let this dry completely before continuing. When creating an image using the additive Gum Arabic is water-soluble and enables water- b a s e d method, you can add paint to your printing plate the colours to adhere to the plate and to be easily lifted off same way you would to a canvas. This allows you to and transferred when printing onto a damp piece of build up your image by continually adding colour, printmaking paper. until you are satisfied. With the subtractive method, After the Gum Arabic is dry you can create your you first apply the colour to your plate in large blocks. image directly on your plate using an additive or F rom there, using diff e rent tools, you slowly take subtractive method. Most often, artists will use the colour away, creating your image as you remove the additive method when working with water- s o l u b l e colour from your plate. For both methods, a simple materials, as these materials dry quite quickly and can piece of plexiglass serves as a printing plate on which make it difficult to remove colour without re m o v i n g your image is created and printed fro m . some of the Gum Arabic. Additive Method Techniques: Your image can be WAT E R - B A S E D created freehand or you can place an outline or M O N O P R I N T I N G drawing under the plate and use this as a guide to apply colour. You can use watercolour paint, M a t e r i a l s : traditional gouache, watercolour pencils or water- soluble crayons. Take some time to experiment with • Plexiglass plate(s) these different materials as they will all print a little • Printmaking Paper differently from each other. It is also important to note • Wa t e rcolour paint, water-soluble that many colours or different brands of products will pencil crayons or crayons reproduce differently from each other. • Bru s h ( e s ) You have a choice of using only one plate for • Gum A r a b i c printing, or as you become more confident you can use • Mylar or acetate multiple plates to achieve a variety of colours and • Newsprint layers in your work. When printing with more than OPUS Framing & Art Supplies Page 1 AN INTRODUCTION TO MONOPRINTING one plate, use one for washes or background colours distributed into the water leaving you with a more and additional plates for the more detailed aspects of absorbent paper for printing. Paper which is heavily your image. sized will not as readily accept colours, as paper Once you have completed your image set your without sizing, or paper which has been soaked. plates aside to dry while you prepare your paper and After you have soaked your paper, let it drip for a registration system. bit, then lift it onto a piece of blotting paper. Lay Tip: Neocolour II Crayons work well for outlines and another piece of blotting paper on top of your printing bold, strong strokes. Wa t e rcolour paints will work best for paper and use a rolling pin over it to enable the blotter washes, or more detailed lines when used with a small paper to absorb the excess water from the printing brush. Wa t e rcolour pencils are great for detail and all paper. Your paper should be evenly damp, not soaking drawing techniques. wet and not too dry. Soaking your paper is also important when you are working with water-soluble materials. As these PREPARING materials will often dry on your plate before you are YOUR PAPER able to print with them, soaking the paper re-activates their solubility and allows for the colours to be Printmaking paper works best for monoprinting as transferred from your plate onto your sheet it has been sized to withstand soaking and the pressure of paper. When printing on a lighter of printing through a printing press. To prepare, take weight paper, you can often mist your the time to measure out the size of paper you desire for paper with a spray bottle, rather than your final print. Don’t forget to include the size of the soaking an already delicate sheet of paper. border for your image in your final calculations for your paper size. Many artists will often have a 2" to 3" border on all sides of their final image. REGISTRATION Tear or cut your paper to Registration is important when you want your the size you want your final image to print on your paper in a particular area. image to be. To tear your paper, Registration is essential when printing with multiple simply measure out the size of plates, as this will ensure that your plates line up to paper you want, mark it with produce an accurate final monoprint. small pencil marks, then take a To register your paper, place a piece of mylar or ruler and line it up in a straight acetate on the printing bed or your work surface. line. Pull the paper along the edge of the ruler, Make some quick measurements to determine your creating a rough, torn edge. Although subjective, the border and where the center is on your paper. Place benefit of tearing your paper is that you create a rough your printing plate on the mylar and then use a pencil deckled-edge along the torn side. If you prefer a or marker to mark an outline of the corners of the cleaner edge, cutting your paper with a knife or paper plate. Next, place your paper on the same sheet of cutter will work just as well. If necessary you can M y l a r mylar and mark off the further trim or tear your paper after the print has dried corners where you want to square it on the page or reduce its size. your paper to be placed. When using printmaking paper, soak your paper plate g u i d e s When you begin printing for approximately five minutes before printing – some you can place your plate paper brands will require a shorter or longer soak time. and paper in the same place p a p e r The amount of time needed to let the paper soak, is g u i d e s every time by simply lining dependent upon the amount of sizing in the paper. In each up with the soaking your paper, the size in the paper will be registration marks you OPUS Framing & Art Supplies Page 2 AN INTRODUCTION TO MONOPRINTING paper previously made. This simple step will go a long way back of your hand to pull baren to ensuring that your final print looks the way you your print. Note that these intended it to. methods will not give you Tip: Either use light pencil marks or a non-soluble the same results as a plate marker, as you don’t want your registration marks to printing press however, they can still pro d u c e transfer onto your final print! You can also place an beautiful results. If you are printing an image with additional piece of mylar or acetate over your registration m o re than one layer, set up a registration system and page, to protect your final image. place your plate and paper in the same ord e r. Then, using your body weight, apply pre s s u re to the back of the paper with any of the tools listed above to transfer PRINTING the image to your piece of paper. When using a printing press, adjust the press to allow the blankets and plate to pass through tightly, but not so tightly as to “snap” when the plate passes O I L - B A S E D through. Next, lay the first plate on the press bed, M O N O P R I N T I N G image side up and aligned with your registration marks.
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