Printmaking: monotype, monoprint & drypoint

July 16, 2014

Some drypoint work today, but here’s the same subject matter as a monotype (pencil drawing photocopied – hence the blueish cast to the linework – onto Stonehenge paper, with Caran d’Ache Neo watersoluble crayon applied to glass plate with water sprayed over the top) and as a monoprint (same pencil drawing photocopied onto Stonehenge paper, with Caran d’Ache Neo watersoluble crayon roughly applied to glass plate), both pulled by hand:


monotype WATERSOLUBLE CRAYONS 1Here’s a cropped version of the image, on smaller-sized paper, using drypoint tools and sandpaper on thin acetate plastic, white areas lifted with a cotton bud and printed with Sakura black oil-based ink on Fabriano 220gsm printmaking paper.

drypoint 2

drypoint 1

The first to be printed retained brush-like marks as part of its plate tone. I did some over-painting after printing with yellow watercolor.

For the second print, using chine colle – pale red ricepaper and gluestick – and was overly fluid with the cotton bud, I reworked the plate with a harder point to get some darker lines and was more comprehensive in removing the ink from the plate prior to printing. The paper was damper than the first print, hence some of the changes to overall plate tone.

With more practice, I’ll get cleaner prints, omit fingerprints and create more convincing tonal and linear effects.


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