Gelatin printmaking is fun, fast and addictive.

But after the initial surprise and excitement many artists want to exercise some control over the process. Or they see clean, crisp layers made by other printmakers and artist and wonder how it was achieved.

Now fair warning, monotype printmaking is often experimental and exact marks often can not be exactly duplicated, but the technique can be learned.

The secret:

Save some white.

You can do that in a few different ways.

1. Use a mask in the same position for each layer of ink prints
2. Apply ink to only a portion of the plate of each layer
3. Allow masking areas to overlap

If you would like to explore gelatin printmaking in depth and get the help that you need to gain some control over this experimental process, then join us in the next session of Make Monotypes – class starts Feb 22nd.

Read the details here on the printmaking workshop page.

What the heck is a Newsprint Pick up?

I am glad you asked. I use the term newsprint pick up a lot, when I talk about  printmaking on the glycerin and gelatin plate.

I simply place newsprint over the gelatin to pick up unwanted plate ink.  I don’t rub with the newsprint.  I just lay it down flat and burnish with my hand.  I do this over and over again with clean newsprint to pick up unwanted ink. You could use copy paper or other inexpensive paper to do the job.

The purpose of the newsprint pick up is to increase the contrast of your marks.  It is a process, that you can use or choose not to use when making monotype prints.  It gives you options.  I gives you some control over an unpredictable process.

Steps to using a newsprint pick up:

1. Pull your shaped impression.  This skill affects the detailed impression
2. Leave the stencils in place
3. Try not to move them
4. Place the newsprint on top of the stencils
5. Burnish with your hand
6. Again try not to move the stencils
7. Repeat this as many times as necessary to remove the unwanted plate ink.

You did it!

• Then remove the stencils
• Pull your detailed impression

You should see a difference like the prints below.  The monotype print on the right is a detailed impression without a newsprint pick up and the one on the left is with the newsprint pick-up.

Check the current workshop list for a class that would interest you.

I have been making a print a day in May as I promised at the beginning of the month.  I was away from internet access for the last few days.  So I will do a little catch up here.

Make a printmaking travel kit

First I made a travel kit  of printmaking supplies that included my glycerin printing plate and it all fit in a cigar box. The glycerin and gelatin plate is much studier than the plate made with gelatin alone.  It can withstand the rigors of traveling. I included all the basics:

• a few stencils
• paper and a small book for holding stencils and for printing on
• Little spray bottle
• 3 inks
• a brayer
• scissors and a pencil
• a few stamping tools

I cut a glycerin plate in half and put a small piece of plexi glass on the top and bottom and slipped them into a zip lock bag.  It worked great.  I did not even clean the palette when I headed home and got this abstract print today.

It was nice to work with limitations.  I think I learn more and push the boundaries of what is possible  when I have limits.  I will share more prints tomorrow.

Try a printmaking class

Would you like to explore gelatin printing with the homemade gelatin and glycerin plate in Make Monotypes, the online printmaking class. Check the workshop schedule and sign up.

This is what one student expressed about Make Monotypes, printmaking class:

I  am delighted at how well organized the class is and how much I am learning. Linda, you are a wonderful teacher. THANKS.  Each lesson is well thought out, and the videos are easy to understand.  I truly appreciate your interest in each student’s  development.  It has been absolutely perfect, and I am so grateful that you offered this class online.  I hope you offer an advanced class sometime soon!

Elenor M. – Make Monotypes

Monotype printing Notes

Monotypes by definition are one of a kind prints.  Sometimes I make a print and want to be able to repeat the technique and make similar impressions.  I want to remember:

• The ink I used
• The paper
• The type of stencil and the material it was made with
• The weather or time of year
• What steps I took and in what order

Use practice prints to reference process

An easy way to remember is to write notes on some less than perfect prints.  Keep these notes in a folder and then you do not have to reinvent the wheel with every new printing session.

Do you keep notes or do you just create with abandon?  What works for you?

Is a printmaking class right for you?

Would you like to explore gelatin printing with the homemade gelatin and glycerin plate in Make Monotypes, the online printmaking class. Check the workshop schedule and sign up.

This is what one student expressed about Make Monotypes, printmaking class:

Linda’s workshops are the perfect mix of instruction and going wild creating on my own. There are no mistakes. Everything is perfect and can be adapted, trimmed, printed over- unlimited possibilities!

I keep taking the class because I learn and do something new every time. I make tons of prints and pull them out to incorporate into all kinds of projects. Paula M, – Make Monotypes

Sometimes your gelatin print or any mixed media piece just needs that extra pop to make it come together.  Today I share with you a few tips on how I get my monotype prints to stand out:

1. Use bright pigment rich colors to start with because as you layer the colors  they can mix and become dull.  (This will depend on what inks/paints you use.)
2. Try to keep a good range of values from very light white to very dark black.
3. Look at your print and ask, “Could I add an extremely dark or light mark to bring it all together or finish the print?”

I did this in the ICAD print on the right-

• I used unmixed colors just out of the tube. (you don’t alway have to do this)
• The range of value is pretty good from light lights to dark darks
• Then I added the black marks for the eyes with a sharpie and the white dots with a corrective pen.
• I think these tiny marks kind of balance off the bold shapes of the rest of the piece.

If you have not watched my recent video about masking stencils and layers when gelatin printing, then please check it out here.

Happy Printing!