An Introduction to Monotype Printmaking
I was introduced to monotype printmaking in 2005. I took a summer class offered by master printmaker James Lorigan at College of the Canyons in Valencia, California.
Having only made woodcuts, I loved the method right away for its painterly results.
The moment I rolled dark ink on a plate, wiped the light areas away from the wet ink, and pulled a print, I was hooked.
Then, I discovered that you can alter the resulting monotype with other media! Cartwheels and dancing!
Overstaying My Welcome
I took Jim’s printmaking class in consecutive semesters until I maxed out my welcome in the college database. (You are only allowed to repeat classes a few times.)
With no press and no master printmaker to continue my exploration, I didn’t print for a fall and winter. It left me grouchy.
Each time I saw a monotype, collagraphs or various printmaking methods, I’d groan and sulk.
To save my family from the grumbling, I bought printmaking books, and borrowed time on friends’ presses. That helped a little, but really, I had to come to terms with the fact that I wanted a press in my studio, so I started researching and saving for one.
Every painting and print I sold went into my Press-Fund.
Press Alternatives
One of my favorite books purchased during this press-less, no-printmaking spell was The Printmaking Bible, by Ann d’Arcy Hughes.
It’s a big book, filled with instructional photos and step by step methods for a variety of traditional and experimental printmaking styles – some without the need of a press.
I’ve since then written a post about small format printing press alternatives, which you can read here.
Selecting an Etching Press
After pouring through printmaking books, and building my Press Fund, I made lists of all the prints I wanted to make.
I found a used book about the etchings of Anders Zorn, and that pushed me over the cliff. I couldn’t wait to buy a press and make some prints. I picked up the phone, called Takach Press in Albuquerque, New Mexico, and ordered an etching press.
The Excitement of Owning a Press
When the truck arrived with the press, I handed the drivers home made citrus lime cake and sodas to thank them for transporting her safely. I can’t convey how excited I was. They moved the crates into my garage, ate their cake and left, and I got to work with a claw hammer to open up the separate parts of my new press.
Christening Your Press
My printmaking friend, Igor Koutsenko, told me (in his lovely Russian accent) that before pulling the first print, it’s an important tradition to “bathe the press” with a toast. He recommended vodka.
We were out, so we went with tequila.
I think it worked just fine. 🙂
Here’s to reaching all of your long term goals!
Thanks for stopping by and I’ll see you in the next post!
Belinda
Art Quote
I devoted free moments, particularly evenings, to etchings, both reproductions of paintings and directly from life. I attached little importance to this pursuit, but was entertained by the surprises inherent in this game of chance, that lines that I incised with a steel needle on a treated black copper plate became light red against a dark background, and when printed would be black on a white field, and reverse to boot; it was like playing blindman’s bluff, a game which delighted me then, and still delights me now.
Anders Zorn
I love the history of how you started printing, and the arrival of the press!!
Beautiful montotype!
Cheers to “Del-Press-Co”,
Happy Printmaking
The crew @ Takach Press.
Sorry about the problems you’ve been having. Wonderful entry. Love the print, and your discussion about the press. How super.
xoxoxoxoxoxoxoxoxoxoBarbara
Saw this in my mail this morning and had to comment. It’s so beautiful! I absolutely love it. Well done. Neil
Del-Press-Co — love it! 8-]
What a great post and series of photos. There’s a lot of detail in your painting. It looks wonderful!
What an entertaining post. I enjoyed it verymuch and I do not do prints