Tag Archives | printing without a press

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5 Printmakers to follow on Instagram, Vol. 2 and a Monotype

Picnic Nap 8×6 Monotype Ghost with Watercolor & Colored Pencil (Available in my Etsy Shop) Using Other Media on Your Monotypes This monotype ghost print looked a little dubious all by itself (see below), but it had potential. The mark-making still visible in the thin veil of ink was interesting, but the tonal variations were too close together, and it needed more contrast to read as two embracing figures. Other Art Supplies to the rescue! This monotype ghost print, before I added color with wet and dry media. Do you paint your ghost prints too? If You’re New to Printmaking If you’re unfamiliar …[Continue reading]

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Monotype Ghost Prints: Adding Watercolor to Your Monotypes

Central California Farmland 7 x 8 Monotype Ghost w/ Watercolor (sold) The Beauty of Monotype Ghost Prints Monotypes are painterly, singular prints made with a smooth plate and pigment. There is no carving, no incised lines, no adhered ephemera to leave a repeatable mark on printmaking paper. And you don’t need a press to transfer the print. Monotypes are made by manipulating printmaking ink or pigments (oil paint, watercolors, gouache, etc.) on a smooth plate, and pressing those pigments against a sheet of paper before they dry. If you’d like to see some of the step-by-step process photos, visit this page. Spatulas and …[Continue reading]

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Light Field Monotype: Monterey Retreat

What’s a Monotype? A few posts back – the one about printmaking ink I accidentally left on a monotype plate for several weeks – I got a flurry of questions about monotypes. So let’s review, shall we? Monotypes are a printmaking method that don’t require carving, engraving, acid or solvents, and depending on your approach and materials, you don’t need a press to print them. Images are simply painted onto a smooth plate, and while the pigments are still wet, the plate is pressed firmly against a sheet of paper. When the paper is pulled from the plate, the inks and paints have been …[Continue reading]

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Making Monotypes from Family Photos

Making Monotype from Family Photos Have you made monotypes from family photos yet? The reference photo for the monotype above was snapped in the mid 1970’s, in my dad’s childhood home in rural Connecticut. My grandparents bought and renovated the house in 1944, after it had lived a full life as Old Meadowbrook Farm – a Country Inn and gladiola farm since the late 1800’s. If you’re unfamiliar with monotype printmaking, there are many posts on this blog featuring monotypes in process (click here to see a few posts). You can also watch monotypes being made on my youtube channel. Gather your supplies and …[Continue reading]

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Resources for small, affordable printmaking press alternatives!

Making Prints without a Press On my youtube channel, one of the most frequent comments left on printmaking tutorials is how to make art prints and printmaking without a press. A press is an expensive investment, and they’re heavy, with a large footprint that’ll take up quite a bit of floor space in a room.  There are also many to choose from, so it’s understandable that beginning printmakers are overwhelmed. Press Alternatives There are workarounds for some printmaking methods (relief/block prints), but not all of them. Hand transfer of drypoint engravings, etchings and intaglio style prints is a lot of work, fickle in nature, and it might …[Continue reading]

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Monotype: Purple Barn (& organizing your studio)

There’s a lot of Fall harvesting going on here in California. The farms near my house are full of cage-box trucks heavy with green and yellow citrus, and the scent of fresh-cut produce is strong on the roads I frequent; onions, peppers, cabbage and herbs are all abundant and fragrant. As we approach the end of the year, this is a good time to take stock of your art-making habits, the state of your promotional activities, and where and how you’re making your work available. Is your studio organized and ready for you to get to work? Did you make the volume and the …[Continue reading]

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Trace Monotype: Balladeer (& museum-goers are asked what they see in art)

My grandparents met in a Connecticut textile mill as teenagers. They were not yet 20 when they married. He was from Canada and spoke only French, and she was from England, so communication was challenging in their early years. Right up to the end of their lives, they held hands, patted the empty seat next to them beckoning the other to come sit close, and they made each other laugh, especially while reminiscing. I loved visiting them, typing frantically on my lap top, to harvest everything they giggled when I asked “Where were you when you first kissed?” (In the back of a horse-drawn sleigh on a snowy Thanksgiving …[Continue reading]