Monotype Print Repair with Watercolor and Colored Pencils
I just finished a monotype print repair with watercolor and colored pencils. The monotype print was destined for the shredder, but I paused to consider adding other media. (What is a monotype, you ask? Have a look at monotype printmaking process over here.)
If you’re intrigued with the notion of printmaking repair, please do give this a try. It’s both fun and rewarding to fix things.
I hope this post makes you think twice about tossing a not so perfect monotype print. Even if your final, repaired results are still destined for the shredder, you will have played with your art supplies. Take time to experiment with print repair. Mix some of your own media on a failed print for a precious carat of creative pastime.
Monotype Print Mishaps
One of the character traits of printmaking is the notion that there can be a huge shift in your results from one minuscule choice in the process. I think this is similar to sewing, cooking and gardening, etc.
Many of the common questions I get on this art blog and the tutorials posted in my YouTube channel is “What went wrong on my print?” I can’t answer the question until I hear *all the particulars*, because every decision in the process affects the end result.
Which ink did you use? Did you modify it, or use it straight from the can/tube?
Was the print a monotype, a monoprint, an intaglio or a relief print?
Did you hand transfer the print, or put it through a press? If it was printed on a press, was the plate supported or raised with additional paper or mat board? Did you adjust the pressure?
What was the plate made from? What was used to seal it?
Was it printed on random paper, or printmaking paper? Was the paper soaked and blotted, or printed dry? What weight was the paper – heavy or lightweight? Did the paper have sizing in it?
Each of those variables (and others) can make or break a print, and folks new to printmaking sometimes struggle with paying attention to specifics in directions, and sequencing.
If you have an experimenter’s heart, flubbing a few prints is a shoulder shrug before trying again. But, if you’re tender skinned and you need success in early creative adventures in order to stick to it, and Get Good at something new, details and order of sequence are crucial to follow.
Don’t Be a Jumper
When reading a recipe, or assembly instructions, do you skim and jump to the next section before you’ve fully absorbed the details? I am that person. A jumper. Don’t be a jumper.
Especially if you need success to stay in the game. Your experiments with printmaking depend on following along – in order, with the right tools.
Try to find clear, detailed instructions. They should include specific ink, which weight and brand of paper, the kind of plate material and all the steps of the process in excellent detail. Then, Follow those steps without jumping. Your successful printmaking will fire your motivation to continue.
But, even if your print comes out a little short of what you aimed for, you can still have fun applying other media to your work. Grab your watercolors and colored pencils, and pull that failed print out of the trash. Head on over to Art Supply Sick Bay. It’s time for repairs.
Monotype Repair Caveats
Another reason to be familiar with your art supplies is understanding a few details needed on the repair process. Can your printmaking paper handle wet media? Will the ink re-wet when you touch it with a wet paint brush?
In this monotype portrait, I’ve printed on Japanese Kozo paper, which is very thin, but super tough. It’s not meant for watercolor, but I have a barrier of printmaking ink that dries permanently on the paper. I know the pigments will settle on top of that ink – especially if I use opaque watercolors, or gouache.
Ultimately, I used traditional watercolors because I didn’t have gouache with me on the camping trip I was on while painting this monotype print.
And as you can see in the image below, the pigments – once layered – sat on top of the ink with enough integrity to create the suggestion of facial features. The print already looks quite different than it did fresh off the press. The watercolors also left a ghostly veil of color on the dress and the foliage behind the figure.
Layering Watercolor and Colored Pencil on a Traditional Monotype Print
While camping out in the California desert, the dry air aided my watercolor layering experiments on this monotype print. As soon as the pigments were dry, I used these Schpirerr Farben Colored Pencils on top of the watercolors to add a bit more detail to her facial features.
The background leaves and suggestion of a hedge and foliage were done with white watercolor mixed with a bit of the other colors in my travel palette – greens, yellows, reds and blues.
Monotype Print Repair with Other Media
- Here is a still life monotype post relaying details about some of the colored pencil brands you can use to repair Monotype Prints.
- This post outlines a monotype print portrait scuttled by the use of older printmaking paper compromised by exposure to air, and then repaired/revived with colored pencils.
- In this color monotype print portrait of a young girl and her dog, the details were lost in the print transfer process, so once again, I used colored pencils to rescue the art.
- Here is a monotype ghost print of a bathroom interior still life with flowers, and the values were so washed out, it was a perfect starting point for colored pencil repairs.
I hope you’ll reconsider chucking your next printmaking befuddlement, and instead, play with your colored pencils and watercolors on top of the ink.
Thanks for stopping by – I’ll see you in the next post –
Belinda
P.S. McClain’s Printmaking Supplies just released their 2025 catalogue. You can peruse it here.
Art Quote
Popular doesn’t mean better by any absolute scale. Popular simply means that more people like this thing than that thing. Popular isn’t an act of genius. Popular is either an intentional act (to serve a particularly large, homogenous audience) or a lucky break. The most direct way to become popular is to serve the audience that made the last thing popular. By that definition, popular almost always means ‘not better.’ It simply means that you found a large group and gave them what they wanted. The world likes popular, but it doesn’t have to be your goal. ~Seth Godin
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.
hi Belinda,
I have been experimenting with printmaking for a little over a month. I am a watercolorist by background. I also will admit I am a jumper! I tried the dark background monotype and it pretty much was a failure. I will look at the video again. my question is on wetting the paper for any print process. how do I know when I need to wet the paper or to print on it dry? right now I have arches cover paper and some Strathmore printmaking paper and some scraps from a workshop that I took. I have some BFK Rives coming soon. does wetting the paper increase the absorption of the ink? there are so many variables and as you say I could go into detailed description but overall I have been pleased with my monotypes that I have been practicing with on dry paper. if I wet the paper will the ink soak in deeper and be more vibrant? thank you for all your help. I enjoy your videos on YouTube and I have been following you and studying the printmaking process.
Hi Laurie, Welcome to printmaking and adventuring, fellow jumper!:) Which ink are you using?