Introduction:
A monotype is a one of a kind print achieved by applying colored inks to a smooth surface and then transferring that image to paper. The earliest monotype dates back to the 1600's. Many famous artists including Gaugin, Rembrandt, and Degas, experimented with monoprint techniques. Monoprinting is a wonderfully spontaneous art form which is well suited to mixed media techniques. Today we will experiment with monotypes and collage materials.

Materials:

• Createx monoprint inks or Caran d'Ache water-soluble crayons
• Plexiglas plates (9" x 12" is a good size)
• Newsprint
• Pencils and erasers
• Brushes
• Watercolor paper or printmaking paper (I suggest Arches hot or cold press, Arches 88, or Stonehenge)
• Soaking tub big enough for whatever size paper you are using
• Brayers and/or a rolling pin
• Collage materials (lace, leaves, textured papers, stencils etc.)
• Two towels or blotting paper

Directions:

1. On the newsprint, sketch an idea for your print. Your inspiration can be from newspapers or magazines, photographs, or simply from your own head. Your design need not be super detailed or structured. Often with monotypes, an abstract design translates the best. If you don't feel the need to do a preliminary sketch, feel free to go straight to the plate.


2. At this point, if you are using Arches watercolor paper, set it in a tray to soak. Soak Arches for at least a half hour before you print to remove the sizing. Any other paper should be soaked at least 15 minutes.


3. While the paper is soaking, paint your design directly onto the Plexiglas. If you are using crayons you can draw right on the plate. Hint: layer your colors. With paint, too thick of an application will result in a "blobby " print without any definition and too little paint will result in a faint, ghostly print. It sometimes takes a little practice to learn how much paint is ideal but don't get frustrated...you really never know what you're going to get in the final product because of the nature of the medium.


4. At this stage you can incorporate textured materials. Place your lace, textured papers or leaves, etc., on top of the paint. You can either do this as the last step before you print or continue painting more layers of color.


5. When the plate is completely dry, remove the soaking paper from the water and place it in between two towels or two pieces of blotting paper. Pat it until the shiny surface disappears but make sure the paper is still quite damp. Then place the paper over the inked plate and thoroughly run a brayer or a rolling pin over the surface to transfer the color from the plate to the paper.


6. You can lift one corner off the plate and peek at the print. If it is not as dark as you want it you can lay the corner back down and give it another going over with the brayer until you achieve the level of color you want. When you pull your print off the plate, do it very slowly from a corner to prevent tearing. Any textured materials you placed on the plate can now be lifted off to reveal exciting effects.


7. Ideally, you should now tape the print to a hard board with paper tape until it is completely dry. It is fine to let the print dry untaped, but it is likely to buckle. Other options: Use wheat starch to adhere collage materials. Do this at the same time when you lay the paper on top of the plate. Make sure that the wheat paste is applied evenly around the edges and make sure that you are gluing to your paper and not the plate! Pull a second print off your plate immediately after the first print is taken. Your second print is called a ghost print and will give you a faint image that you can use as a ground to paint, pastel, or collage over.