ELP class 1 part 3 - Monoprint

MONOPRINT PROCESS

Monoprint, as the name suggests, is a single print. This is so because whatever you print will only be done one time as it is, the next time it will have a different effect. It is an extremely free process as you can make whatever marks and texture you want. You an also add to your print or acetate afterwards to create different effects, really everything goes and there are no restrictions. You can rub doen areas with safewash or add ink to other areas. I adore the Australian painter John Olsen and I love his print 'the laughing frog' so I based the print on that.

1. We were given acetate to work on to roll a layer of ink on it. Up to you how much ink you want as it will have a different effect that could be quite interesting. I have started rubbing, using thin line metal on the surface and also using safewash so it had a water colour effect.
2. After he work is done then it is onto the etching press with a big wheel to press it firmly onto paper.
3. I tried to be more experimental with the next one but put a bit too much ink on so the black ink dominated but never mind - when it dries I plan to paint on top of it with white lines...this is truly a free process but having said that, any drawing process is like that, you can match and mix until you get the effect you want and today this idea made quite an impression on me.

ELP class 1 part 2 - Lino printing - reduction method

REDUCTION PRINT PROCESS

Reduction print is basically using the mono colour ones that we have already done and do more to the original lino and print with another layer of colour ON TOP of the original ones. Note that this processs can occur for a number of colours, going from lightest to darkest. We have done black as the second 9 and therefore final) layer for this image. As it is the overlaying process the positioning of the prints are important. having said that if they are slightly offset they also often become more interesting.

1. Note the previous print's ink has to be dry first.
2. Gauge out additional area, note that area that you gauge out now will have the colours of the previous ( in this case, red) colour, white remains white, and whatever you don't touch becomes the new colour ( black in this case)
3. Roll a layer of a different colour ( black) on and press on as before.

ELP class 1 part 1 - Lino printing

I have enrolled in the East London Print makers for an introduction to printmaking course which lasts 3 full days.

I have done 3 printmaking courses in the City Lit in the past and one screen printing in the London college of printing and communications but it has been almost 2 years since I did any print making related course so I thought to do this to refresh my memory.

I will record down what I did today in three parts, the morning is Lino cut, reduction print and the afternoon is Monoprint.

A note about ELP - the space is wonderful and very inspiring, with many art work hanging around that are both impressive and brilliant. Our tutor Ms Ann Norfield is also very knowledgable and helpful, making the day a very pleasant learning experience.

LINO PRINT - PROCESS
Very simple and straight forward process.

I did a sketch of a Penny farthing and used it as the basis of the sketch. Rather than just gauging out the lines I created some patterns to make it more interesting. Basically the process is rather straight forward;

1. Get a piece of lino and put in on a hot plate to soften it to make it easier to do the cutting. Best to use pencil to outline what you want to do. Cut out using a variety of cutting tools.
2. Spread out 50% ink and 50% extender to thin out the ink, mix the two and then use a palette knife to spread it on one side and roll it with a roller. Good if it has a hissing sound so it is nice and thick. But not too thick!
3. When the ink is nice and even then apply to the lino at least 10 times before putting it under the press.
4. Note that the first couple of prints the colour won't be too strong as the lino is absorbent and will absorb some ink.
5. We used an albion press - it is important to put some guidelines on the press itself so you know where to place the paper. ( Also handy for the reduction process in the next session) Note that the longer you press it for ( min 5 seconds) the deeper the colour too.
6. When ll is finished than use safewash to clean up, it is safe but still slightly greasy. If absolutely necessary then use white spirit but not recommended.
7. To clean your hands use Citrus clean, a slightly grainy cream to be applied to dry hands to rub then wash off.

LINO PRINT - SOME TIPS
a. Note that for the lino prints Relief ink is used - it dries faster than intaglio ink as it is meant to be applied to a surface.
b. Make sure the rollers are cleaned! If not wipe it with safewash ( vegie oil base cleaning product) and roll it a couple of times on papers to make sure it is ok.
c. Look after your rollers by standing them on the little stands they come with.
d. If the ink is too thick then add 2 drops of copperplate oil, this is especially so for any black ink.