monotype print

Today I am playing and discovering the different kinds of marks that are possible with the gelatin plate, stencils, mark making tools and inks.

A lot happens very quickly when I roll out the ink and lay down stencils. The challenge is to transfer marks before the ink is too dry.

There is ink on the brayer and on the plate that can be used to make marks on the fabric. The skill develops the more I understand where to place what kinds of marks to make pleasing prints.

For example in the print above:

• the white ferns are made with a masking stencil over a layer of ink.
• the blue and yellow ferns are made with the ink left behind/under the masking stencil
• the background marks were made with brayer rubbings

So when playing with printing on fabric, skill develops as awareness grows about the actions that make certain types of impressions. This can be challenging for folks who like to be in control or make predictable and repeatable mark.

The marks above are similar but not the same. The happy surprises are what I love about gelatin printmaking. I also love:

• easy clean up
• low tech tools
• non- toxic inks
• able to print at home
• fun to share with friends!
• lovely details with just hand pressure
• no press needed
• fast and spontaneous

If you are interested in some guided discover and playful printmaking with the gelatin plate and fabric then check out the details of the online printmaking workshop, Monoprinting on Fabric. Class starts soon.

We still have plenty of time to plan and join the global community of printmakers for Print Day in May.

Print Day in May began in 2007 at the Monterey Peninsula College (MPC), Monterey, CA. The MPC Fine Art Print Club (now the MPC Printmakers) created it to encourage printmakers everywhere to create prints on the same day . . . an all-inclusive printmaking effort! Join the MPC Printmakers, and make some prints during Print Day in May!

You can get into the international event:

• Register for free on their website
• plan a print day with your print buddies
• get psyched about and share your passion on social media with the #printdayinmay

I often think about the line quality of different printmaking techniques. The word quality may be misleading.

Sometimes the word quality refers to good or bad. But that is not how I am using it, when I talk about the line quality in artwork.

Maybe character of line would be more accurate. I am talking about:

• thick – thin
• smooth – jagged
• expressive – loose
• sharp – mechanical

It is also about the expressive nature of the line and the feel or emotions it evokes.

A line can vary in thickness, length, shape, color, value and direction. Lines often help lead the viewer around the artwork.

In my practice of printmaking without a press, I explored different methods of printing that allow for and create marks of different line quality.

The different lines in these gelatin prints were created by the different tools that I used to produce the mark. For example the “bubbly” like lines were offset printed with a mop head.

Trace monoprinting is all about the fuzzy line quality that is made on the back side of the paper to transfer the ink to the paper. Ohh I love that fuzzy line and I am not sure you could get that kind of mark any other way.

In soft plate relief printing, I search for tools to make lines with a wide range of characteristics. In the print above, I used pens, container caps, weeds, twigs, pattern wheel and masking stencils. I think I love turning found objects into printmaking tools.

I hope I have given you a new way to think about line in your artwork.

I am happy to share with you that it is possible to make large sized prints even with small relief plates.

This is a panoramic picture of my studio wall today. The soft plate relief prints on the left are 16″ x 20″ and a variety of sizes down to 4″ square on the right.

In this image you can see can see the different styles of marks that are possible with soft foam relief plates:

1. Line drawings
2. Bold shapes
3. Water color painterly marks
4. Mottled texture of the plate

I am sure that you can make this technique your own. I think the key is to make lots of plates and prints.

I have piles and piles of plates and a few that are my favorites. One challenge can be finding foam, especially if the grocers in your area do not use foam plates for food storage.

There are 2 art supply options, sticky back craft foam and scratch art board. Each type of foam holds a line differently and transfers ink in a different consistency. Experimentation with the tools that are available to you will allow you to develop your own style of relief printing. More about supplies here.

I would love to share what I know with you and help you explore soft plate relief printing.

Read all the details on the printmaking workshop page and join us today.