Monotype
Monotypes in the Printmaking Process

In the printmaking arts there always seems to be a need to review the difference between monotype and monoprint. Let's start with the monotype, the simplest form of fine art printmaking, in which each piece is one-of-a-kind and unique. Sounds straightforward, doesn’t it?

Simply put, monotype requires an ink medium, a flat unmarked surface to work from, heavy paper, and a press. A monotype print is inherently unique since most of the ink is pulled from the plate surface during the first pressing. With the remaining ink on the plate there can be a second printing, often referred to as a ghost print. This second pass results in a lighter and less pigmented version of the original. Each subsequent pulled impression can be considered a finished piece, or there can be an addition of ink to enhance color or manipulate shapes. Remember, each piece is not an exact replica of the original inking layer, so each piece is really individual. The way in which a monoprint differs from a monotype is that it is likely to be one in a series of prints that begin in the form of an etched plate, a collograph or a lithograph. Therefore the monoprint itself is not completely unique like the monotype.

Now let's really get into the monotype process
During my conversation with Susan Slapin of Orcas Island about her techniques of monotypes, she suggested going beyond using the current traditional inks for the monotype process by trying oil paints or acrylic paints. Interesting idea since each of these mediums has different weight or thickness, making them behave differently when rolled, brushed, daubed or otherwise applied to your metal or Plexiglas plate. In some cases there would be cause to either thickening or thinning the paint, or even to add compounds in order to increase or decrease their drying time. In considering your plate surface size you’ll first need to know the usable width area of the press to be used. It is more common to have access to smaller presses that can handle a plate size up to 24” width. Plexiglas is a common plate material; this inexpensive material can be cut to a variety of rectangle measurements, it cleans up nicely, and also stores easily. Copper plates are commonly used too, but are much more expensive.

Moving the ink or paint is what it's all about. Once you roll on your ink color with a brayer to totally cover the Plexiglas plate, which has its own range of possibilities, you can then employ a multitude of methods to draw onto or subtract from the painted plate, or you can press onto the plate with an object or stencil. As an example, I chose the stenciling method for demonstration purposes, using a couple of branches from a salal plant to create a simple monotype. See image titled: Salal on Plexiglas plate. Once I had my salal stencil pressed and the pattern transferred to my plate I then began the process of removing the ink surrounding the salal pattern on the plate. I found this to be a very meditative process. After the extra ink had been removed from the plate I then was ready to transfer the plate image onto the paper using the etching press. The result was a reverse print of my salal transfer onto paper. So far so good. Afterwards, with the remaining ink on the original plate, I created a ghost print. I then added a second solid color across the entire plate to create a second print using as much of the original salal relief as would transfer. The second print’s registration or match up lines from the first pressing did not match up completely correctly, giving it a slight drop shadow effect to the leaves. I liked the unintended result, a happy accident. See image: ghost print.

You may find working with monotypes to be as satisfying a process as I had, where in just two hours I could easily work out and complete several pieces. The clean up was easy too. Currently there are workshops available with Susan Slapin on Orcas Island; class sizes are limited. During early summer there are workshops on San Juan Island offered by other artists.

You can view exciting monotypes online at www.waterworksgallery.com, abstract monoprints by Kappy Trigg. There you’ll also find colored etchings by Bruce Botts. Etching will be a topic covered here in the near future as well.