Drypoint Monoprint workshop with Deb Wace

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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.

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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.

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There are endless possibilities with monoprint and a huge scope for experimentation. It was a lot of fun playing with the drypoint images.

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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”.

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Thank you Deb Wace for a wonderful workshop. Monoprint had opened up a whole new world of possibilities.

RIP Cedar

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…….     

                                                    

                                    

How to – Intaglio drypoint collograph

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”.