Monotype Ghost Print Painted with Watercolors
Adding Media to Monotype Prints
When monotype prints and monotype ghost prints are transferred on paper that can handle wet media, the world is your oyster. You can add watercolor, colored pencils, pastels, etc. to your monotype prints.
If you’re not familiar with monotype prints, have a look at this step by step process post to see how they’re made.
I like to load the monotype plate with as much ink as possible, without compromising details that might get squished under the press. The abundance of ink makes it possible to pull additional prints (monotype ghost prints).
In the photo below, you can see the first print – the monotype, and then two ghost prints. They get more transparent as the ink peels away – transferring from the plate to the paper.
Monotype Ghost Print Underpaintings
Monotype ghost prints are perfect “underpaintings” for other media. The ink is strong enough to suggest the details of the original monotype print, but transparent enough to allow watercolor, colored pencils or other media laid over the inks.
You can stay true to your original composition, or fudge a little and make adjustments to the arrangements and details.
Monotype Ghost Print Tip
Adding other media to monotype ghost prints is almost like adding color to a monochrome graphic page – like a coloring book session.
If you make a monotype – especially a dark field monochrome print – try to pull a ghost print. Or two. 🙂
You may have to increase the pressure if you’re using a press. It also helps to slide a sheet of mat board under the plate to bring it up off the press bed a little bit. I keep a sheet of mat board cut to the same size as the plate I’m using for just this purpose.
Even the lightest, transparent ghost print is the start of a lovely layering session. You can use color, or stay monochrome, and just play with enhancing details.
Furry Farewells
We had to say goodbye to our handsome boy Scout.
We enjoyed 20 lovely years with him. He was my favorite fur model, studio mate and couch-spooner. Lucky for me, I have enough photos to paint and make prints of him for another 20 years.
He was our good boy and the house is far too empty.
Thanks for stopping by and I’ll see you in the next post –
Belinda
P.S. Here’s a fun article about well-known artists and the inspiration they got from their pets.
How to Make a Monotype Print
If you've ever wondered how to make a dark field monotype print, you've come to the right place! Here are step by step monotype process photos, videos, and a supply list with links to the items you'll need to get started.
You don't need a press, or any fancy printmaking equipment.
And if you learn best by watching a demonstration, here is a list of monotyping tutorial videos that cover dark field and light field monotype, as well as trace monotype printmaking demos.
With a little space cleared on a kitchen table, a few supplies, and some reference photos, you'll be making monotype prints in no time at all! Happy Printing!
Materials
Tools
Instructions
- Prepare a flat, clear surface to work on by covering it with newspapers. Gather all supplies close at hand, and put on your apron and rubber gloves.
- Tape down your ink slab.
- Stir your printmaking ink until it's smooth and mixed well. Put a dollop of ink on the slab about the size of a cashew nut.
- Use your brayer to roll the ink out on the slab until it's evenly covering the brayer, and the slab, and you hear the ink "hiss" as you roll back and forth
- Put a piece of non skid under your plexiglass printmaking plate (not necessary if you're printing from a gelli plate) and begin coating your plexiglass with a smooth, even coat of ink
- When the plate is completely covered, if the ink appears loose, shiny or thick, lay a piece of newsprint on the plate, and very gently, with light pressure, smooth it with your hand as though you were smoothing a wrinkle from a bed sheet
- Peel the newsprint from the inked plate and discard it. Now that your ink has been blotted, it should be less shiny, and a bit thinner on the plate.
- Pull out a reference photo, and without touching the inked plate with your hand, begin drawing into the ink with your rubber tipped tool, and cotton swabs.
- If you need to rest your wrist while drawing, slide your drawing bridge over your ink plate so you can rest your hand on it above the ink.
- Use your brushes or your gloved finger tip, or rolled paper towel, or cotton swabs to feather halftones in your design. You can also use them to add more ink by dipping in the ink slab and adding darks to your design.
- When your design is ready to print, pull a sheet of printmaking paper from the package or pad, and with your spray bottle, lightly spritz the side you'll be printing on. Blot with a paper towel, and lay the damp side down on your inked and designed monotype.
- Hold the paper steady with one hand, while rubbing the back of the paper with either the baren or a metal spoon.
- Keep the paper in place with a firm hand, and peel up a corner to see how your ink is transferring to the paper. If it looks too light, or mottled, apply more pressure with the spoon in circular motions.
- When you feel like you've transferred enough ink from the plate to the paper, pull your print, and take delight in your beautiful monotype.
- After the ink is dry, feel free to add color to the print with colored pencil, pastels, or watercolor (provided you didn't use re-wetting ink, like Speedball).
Notes
If you make a mistake on a portion of your plate while you're designing and clearing ink, re-roll your ink, and re-blot if necessary. The inks (if you're using akua) stay wet for a very long time, until they are pressed to paper, so take your time, and get the hang of this painterly printmaking process.
Art Quote
Such short little lives our pets have to spend with us, and they spend most of it waiting for us to come home each day.
It is amazing how much love and laughter they bring into our lives and even how much closer we become with each other because of them. ~John Grogin