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Simple Print Making
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Message
Posted
For those who are interested I have just posted a print made without the use of plates or presses (which is the appeal for me). This has been discussed here on the forum under another topic and didn't want to digress from the main discussion so thought I'd post it here separately. I'm still experimenting with the method which is great fun and so simple. Made using acrylic paint which makes it even simpler. If you want to take a look it's at:
http://www.painters-online.co.uk/gallery/art-view,picture_204086.htm
Posted
I've left a comment, looking promising Michael and you are obviously keen to progress with your monotypes.
I also enjoy printmaking but I generally employ the help of a press, essential of course for drypoint etching which I tend to specialise in. Keep it going, it's such a versatile and exciting form of mark making.
Edited
by alanbickley
Posted
Thanks so much Alan - I do admire your work and your encouragement means a lot. I have just come in from the studio for a coffee where I am working on a larger work using wire wool as the 'applicator' in a sort of Pollock style - there is just so much fun to be had. I have also just returned from Madeira where I didn't paint at all but worked on several classical poetry forms which I am posting elsewhere. The most frustrating thing is that there is so much I want to do and how I wish I had another life time ahead of me.
Edited
by MichaelEdwards
Posted
I was interested in your post because I've also recently been playing around with printed paint; monotypes/monoprints whatever one wishes to call them. I have been feeling like I've reached a plateau with my usual media, so a foray into something quite different is often helpful for the tortured soul.
I have a sheet of glass with ground edges, which makes it safer to handle; and I've tried splodging it with various materials, including FW inks, gouache and some cheap printing ink (not all at the same time, though). Then pressing a sheet of cartridge paper on top and rubbing over it with my hands, before pulling it up.
The results have been pretty varied and sometimes unexpected. Not sure I want to post any of them here at the moment, they're rather messy, but the whole process is fun and doesn't have quite the same stress-levels as when coaxing dry pastel into position on a "going well" artwork.
I've always had an attachment to monochrome works, and printing techniques in general (though no real experience); and as a result of some deep self-analysis I went and bought a few scraper-boards to try out....I know it's not "painting" but I really enjoyed the process and would like to try some more.....and more printed paint too.
Posted
Oilydust, do give it a go, Michael has produced some interesting work and it's great to try new techniques. And don't be afraid to show us!.
I wrote a two features on both monoprinting and monotypes for the artists-online e-newsletter a while ago, I'm not sure if these features get saved anywhere. Anyway, just to very briefly outline the differences between the two, I won't try and be boring but it is important to know.
MONOPRINT - usually made by scribing any sharp object into a plate, quite often made of perspex or aluminium, but just about anything can be used to create your design, you can then print off multiple copies until the plate loses its quality of incised line. An etching press is required for this process. Single or multiple colours can be used when inking the plate before printing.
MONOTYPES - the simplest form of printing, just draw your design on a plate, brush, stick, fingers, anything that will make a mark. Again perspex is widely used or even card such as mountboard is suitable. You can only pull one print from this plate of course. No etching press needed for this method so cheap and easy to set yourself up. Again, no restriction to the amount of colours that you can use. MONO in this case doesn't refer to a single colour which can often be confusing, it refers to a single print run. A roller is a useful addition to transfer the ink to the image paper.
I hope that this short description has proved helpful, but if you need any more information let me know. I think that I may be the only artist on here who has a fully operating printing set-up including acid etching, so I have encountered most problems over the years, also Michael will have a fair bit of experience with monotypes so don't be afraid to ask.
Just an after-thought, following on from my demo's we do have an artist on here who became interested and has also produced some exciting work. Her name is Gudrun Sharpley, well worth a look. I also have a fair few examples of both these processes on my gallery if you have the time to trawl through my stuff.
Edited
by alanbickley
Posted
Thanks Alan - useful info. I am currently using Oil Bars for my monotypes and they work so well.
Oilydust - having started out with glass I now use flexiglass for my prints - there are quite a few demonstrations on You Tube some of which you may find of interest but in the main they are by American ladies with high pitched voices who seem to be making it up as they go along and I guess I'm now in trouble with the PC brigade.
Posted
Thank you both for your input, appreciated; I don't unfortunately see myself with a printing press at this stage....the house is full up, the shed is full up and my little workroom is stuffed with boards, paper, every medium under the sun and more...but, who knows? If I could but get rid of the ruddy great band-saw in the shed....
I will certainly look up your images and the other person's works mentioned; there must be more people out there doing this kind of work in Britain but I never see a lot. It seems several media work well for these processes; there's also the question of what paper to use and what subjects are most adaptable. All to play for, and with. Mmm...think I'll have another crack tomorrow.
Posted
Glad you found this helpful, if in the future you do want to consider an etching press please come back to me for some first-hand knowledge of what to buy. I've got several but the smallest is an A4 plus Danish precision engineered press which takes up very little space, but that's all for another day of course, perhaps...
As for paper, well, I tend to use Fabriano Rosapina 220gsm, this like most printing papers is better dampened before printing, just a quick 30 second dunk in a sink is adequate, then lay out and sandwich between blotting paper and pat gently to remove excess water. The ink tends to soak into the paper better when slightly damp but I am using Akua Intaglio printing inks. This is the recommended method by the way, not a personal thing.
Michael will no doubt share his knowledge of what paper he uses and whether or not he dampens it before printing.
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