I’ve recently made time in my life for my printmaking practice but after preparing the GreenRoom space for a flurry of activity, I felt a bit stuck. It’s been too long between prints. I thought learning a new technique would inspire me and give me some momentum! So……I’ve just completed 2 days of monoprint & drypoint Printmaking with Deb Wace.
I want to move away from precise mark-making & static images. I want to work in a free & spontaneous way. I want to create whimsical, interesting marks implying movement, depth & joy.
Deb’s generous sharing of ideas and teaching over the last few days has given me great inspiration, new methods of working and mark- making . My mind is bubbling over with ideas !
I chose to work with images from my childhood – photos of my sisters & I bouncing on trampolines when we young children. With a drypoint tool, I scratched a quick line sketch into the acetate based on the images in the photos.
The drypoint image on the acetate is then inked in the usual intaglio manner and then ink on the surface of the acetate is manipulated by different means & with different tools to achieve the monoprint. The mark-making is unconstrained, quick & spontaneous. The resulting printed marks are very interesting & lend depth and movement to an otherwise static drypoint image.
There are endless possibilities with monoprint and a huge scope for experimentation. It was a lot of fun playing with the drypoint images.
Below are my favourite set of APs for the day. I used a grouting tool and a scrap piece of card to manipulate the ink & some small paper and thread stencils.
It’s titled “Cosmic Sisters”.
Thank you Deb Wace for a wonderful workshop. Monoprint had opened up a whole new world of possibilities.
My gorgeous dog Cedar died of old age at Christmas time. He was with me for 13 years and was a constant and delightful friend. I have lost my faithfull little companion and life seems bleak without him. To help me get through my feelings of loss and grief, I have been creating some prints of Cedar. I’ve christened my new press printing this series of three prints and she works like a dream. I’m attempting to create some intaglio monoprints of Cedar using some of the methods that Ron Pokrasso employs in his work – stay tuned for those as I’m still creating the plates. In the meantime these 3 proofs are the first little series of “Cedar”. I’m trying to move away from single layer/mono-colour prints and utilise multi plates and more colour in my images to create more visual interest and complexity. These prints are 2 plate drypoint collographs. During Cedar’s last week of life, I took lots of photos of him. To create these prints I used some of my photos to make paper cuts of Cedar. These I collaged and used a drypoint tool to add more detail. I achieved the background texture with acrylic medium on a separate plate and I used paper stencils when printing the two plates together with the usual intaglio inking and wiping. I think that the printing method I used is referred to as “pochoir” which is a french term for Stencil technique. Or maybe pochoir only refers to hand colouring using stencils?? I need to research this. Anyway here’s my Cedar boy…….
Carol Nunan has initiated a “How to” on Collographs for this month. Here’s my contribution. I love this method because it is non-toxic and I get to recycle my milk cartons ! Judy Barrass shared this method with me:
Step 1. I save my tetrapak soy milk cartons and cut them up to create printing plates. The size of the carton will of course limit the size of your print. I have been lucky enough to have Judy send me some tetrapak “off the roll” so now I can use it for creating larger prints.
Step 2. I Draw my image into the silver side of the tetrapak with a drypoint tool. Unlike drypoint on a metal plate there is no burr created so the printed line is quite sharp and crisp.
Step 3. Next I glue the tetrapak to some cheap grey board with PVA glue. I Shellac the edges and back so that stray ink can be wiped off easily (no need to shellac the image) & I trim the edges with a stanley knife.
Step 4. Ink up the plate as you would any intaglio plate. I use old phone book pages and tarlatan for wiping back the plate and I use cotton buds to wipe in the highlights.
Step 5. Print onto damp etching paper using a press.
Here’s a print made using this technique. It is called “Yoga Mama”.