Monotype Print - WIP

Okay, so here we go for a very quick demo of monotype printing. Many of you will already know the principle, but for those who don't, here is a brief description. A monotype is a one off print, or one of a kind, either hand pulled through an etching press on can also be produced by hand. It is not a reproduction, it is an original work and is numbered 1/1 accordingly. The textures achieved are unique in their visual quality once the plate and paper have been separated. So, why bother?, if it's only a one off why not simply paint a picture on watercolour paper. Well, the reason becomes clear once you get involved with the process, the use of oil based printing inks combined with the method of production all give the finished piece an almost magical appearance, the lines and textures that are produced cannot be replicated elsewhere and there is always an element of surprise when you peel away the print from the plate. It is known as the most 'painterly process' in the printing world because the image can be painted on the plate in much the same way that you would a painting, and it allows the artist to experiment and express themselves, particularly so on the larger works. Finally, my demo is a monotype, this has no matrix as a monoprint has, the plate is completely clean and without marks. STAGE 1: Obviously the image will be printed in reverse, so if you are working on a known landmark, as I am with Sandon Church, sketch it out on a piece of tracing paper and then reverse it under the printing plate, in my case, I have opted for a 3mm sheet of clear Perspex, and then draw your design onto the Perspex. I like to put some masking tape round the image area, and this is removed just prior to printing, keeping a nice clean edge to the work, as remember, monotypes, like many more prints such as etchings don't require a mount. I'm using here Caligo Safe Wash Relief Ink, and thinned down a little with Caligo Safe Wash OIl, but you can use artist's oil paints, acrylic or what have you, just experiment, but whatever you decide on, make sure that you are using slightly dampened and absorbent paper, this is vital, I am using Fabriano Rossapino 220gsm printing paper. Then simply sketch out your design on the Perspex and on to the next stage. one:

STAGE 2 To keep this demo simple I have used just three colours, Rubine Red, Prussian Blue and White, but just a single colour works very well with monotypes, but you can always add a few more if you wish. Be cautious on this though, too many colours and you create a 'printer's pie', which can look ghastly. Then simply use whatever you have to hand and start blocking in your design. Brushes, scalpels, fingers are great, anything at all, and you can add textures and details using fabric, leaves, the possibilities are limitless. You can also wipe ink away to leave what will show as white on the print. If you are using printer's ink as I am, there is no panic regarding getting the image painted and printed, this stuff takes hours to go off. Once you are happy with it, peel off the tape and we will move on to the next stage.

STAGE 3 Position the inked plate on the base of the press and carefully place the dampened paper on top, taking care to line it up square, I use a series of grid marks which are helpful. Then it's just a matter of positioning the felt press blanket, or blankets if you are using the full set of three, I'm just using the thickest one on this small press, and start to run the whole sandwich through. adjusting the pressure of the steel rollers as you go. I never run it back the other way, you can do but it shouldn't be necessary. If you are not lucky enough to own a press, or you can't get access to one then simply go to the position of placing the damp paper on the Perspex plate, hold or tape down the smaller edge and use a printer's ink roller, rolling from the taped edge to the end of the plate, you can do this several times, but don't roll it back and forth. Nearly there, the exciting bit comes next...

Right, nearly there, the rest is fairly obvious when you look at the photos. Take great care, and with clean ink free hands peel back the felt and then the printed work from the plate, you will then see, hopefully, HA HA, that the whole process was worth while, but you will get disasters, I do quite regularly, but usually down to rushing and carelessness. You will see from the photo that there is still an image visible on the plate, you can re-work this if you want, using the 'ghost' image as a guide. The next print would then become a monoprint as you are using a matrix already on the plate, and would be labelled as 1/3 2/3 3/3 if you made say three prints in this way, and are known and labelled as 'varied edition' or EV as it is shown. Finally, and preferably when dry, it is important to label the finished print. This is ALWAYS done in pencil, I use a sharp 4B, and starting from the left number the print, in my case for this demo I have only made one so it is 1/1 Monotype 'Sandon Church' centred Alan Bickley on the right edge. My next WIP demo, which will be Drypoint Etching, creates the possibility of printing an edition of say 20 or 25 prints or even more, dependent on the material of the plate, but more (If you can take it) next time. I do hope that I have been able to explain it in fairly simple terms and that you might have a go at some stage. Please let me know if you need any further information or help, I am usually around 24/7, sad but true. As a guide, this took me an hour from start to finish, including taking the photos's, but a lot longer to write the text. .For most etching processes a good press is a necessity, I am fortunate enough to have a couple at my disposal, my latest one, the one used in the demo is a small well engineered Danish press from Intaglio Printmakers, London, Polymetaal JM25, it's a little beauty and well worth the investment if you want to do some serious commercial small edition printmaking as I do.