Learn how to make monotypes without a press with the following instructional videos created by experienced artists.
How to Make a Monotype: Color Print without a press
Subscribe to this channel to see more art tutorials – And click the little Bell icon so you’ll be notified when something new has been posted! Description: This video is a beginner level tutorial showing how to make a color-field monotype, with no press, using a sheet of Dura-Lar (polyester drafting film) as a plate, and mulberry paper with water-based printmaking inks. If you don’t have a palette to mix your ink colors, use a second sheet of the Dura-lar.
How to Make Monotypes the Easy Way
Ingrid Duch shows how to make monotypes in an easy way, without any use of a printing press. Visit the artist’s youtube channel here.
How to Create a Monotype with Gelli Plate Printmaking Techniques
You don’t need a press to create monotypes, all you need is a gelli plate, some water based Akua printmaking inks, and printmaking paper! RISD Adjunct Professor Clara Lieu and Art Prof Teaching Assistant Owen Rival demonstrate every step of the process, showing wiping techniques, brush techniques, registration, and the printing process to create a monochromatic monotype.
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Creating a Monotype with Golden Open Acrylics
How to create a monotype, or monoprint, using Golden’s OPEN Acrylics.
Monotypes1 are made by applying paint or ink to a non-porous surface and using pressure to transfer the resulting image to a piece of absorbent paper. After the paper is carefully peeled up and set aside to dry, the surface can be wiped clean and the process repeated. This direct transfer process allows artists to create prints without the use of silk-screens, engraved plates, woodblocks or other printmaking devices. The limitation of this process is that it creates only single editions.
SURFACES TO WORK ON
Most smooth, non-porous surfaces can be used as a base for a monotype. Choose a surface that will not stain or be affected by paint, water, or cleaning products. Tempered glass and metal are most often used. While materials like Plexiglas® and Formica® will suffice, acrylic paint has a greater tendency to stick to these surfaces, especially if allowed to dry. If a printing press is going to be used, the base material must be flexible enough to withstand pressure. Beyond traditional metal plates, plastic sheets like Plexiglas®, Acrylite®, or Lexan® may withstand this pressure. When using manual pressure, tempered glass work well and is easy to clean if paint dries in the process. A sheet of white paper placed underneath will make it easier to see the image. Sketches, photographs, or other reference material can also be used in this way.
LIMITATIONS OF OIL PAINTS AND PRINTING INKS
While oil paints might seem ideal for monotypes, their linseed oil content will eventually cause yellowing and decomposition in paper fibers1. Furthermore, quick absorption of oil into the paper can cause the paint to become brittle, crack and delaminate. Lithography and other printing inks generally work well and have been the most common media for monotypes in the past. However their palettes are limited and thicker applications can result in tacky, slow drying prints. In addition, both oil-based inks and paints often require toxic solvents to modify working properties and facilitate clean-up.
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