Sunday, July 24, 2016

Screen Monoprinting

One of the first monoprinting techniques I explored before I got my etching press Thumper was using a silk-screen.  The process involved painting a design on the screen using acrylic paints, then squeeging onto paper using Print Paste.  I then worked back into the dried print using oil crayons to add detail and highlights.  Below are a couple of my prints, probably produced around 2006.

I love their colour and movement.  Using the silk screen to monoprint is very expressive process where the initial image is created without first drawing or tracing.

Today I used some mini-silk screens to try water soluble crayons using this screen monoprinting process.  I drew on the screen using the crayons, then experimented with Print Paste as well as Gloss Gel Medium.  The results were interesting, and it's a very quick spontaneous process - just what I love about monoprinting.  Its definitely a technique that I would be able to take travelling with me.

The screens, squeege and mediums I used

Test print

One of the ghost prints, showing some colour stuck in
the screen

Another test print


Sunday, July 10, 2016

Monoprint Commission

I've just finished a small commission to complete a framed work utilising imagery from Japan and Queensland, as a gift for a sister cities project.

I could have just done one of my usual monoprints, but I decided to combine monoprint, chine-colle and drypoint just to provide a bit of a challenge to myself....!

I wanted to use elements of the natural world that had connections to our local area and juxtapose them against elements from Japan.   I selected leaves from a small eucalypt, the Plunkett Mallee, which is the city tree for Ipswich, near Brisbane, Qld.  Luckily for me, my friend Wendy had one in her front garden.  I used these leaves to create monoprints on banana paper, a very beautiful translucent paper I bought in Melbourne.  I've printed on it before and loved the results.

I then created a drypoint image of a magnolia flower, the city tree for Nerima in Japan.

I used the process of chine-colle to collage pieces of the monoprint onto the drypoint image.  The word chine-colle roughly translates from French 'chine' = tissue, and 'colle' = glued.  The glueing process occurs during the printing, in this case the printing of the drypoint.

I'm happy with resulting print.  The process was long and sometimes challenging but, to me, the image of the magnolia flower made up of the eucalypt leaves perfectly describes the connection between the two cities.

Drypoint plate inked up
Cut up pieces of monoprint glued onto backing washi,
ready for chine colle onto the drypoint
The finished work with the drypoint printed over
the monoprint pieces

I had some ink left over so printed the last run of the monoprints
onto some scrap grey-toned paper,
it really brought out the beauty of the mallee leaves.