I learned something new in class today: I suck at monotype.

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Well, I don't really know why I'm telling you all this, just to get it off my chest I suppose. I'm not used to sucking quite this much at things art-related!

I have a printmaking class this semester, and it's the first time I've tried any of these techniques. It's really interesting though, despite me and my suckage. So far all we've done is monotype, but we'll be doing lino-cuts next, later on we'll do intaglio, waterless litho, etc.

So do any of you all do printmaking? I'd love to see pictures of anyone's work! I'll post pics of my own sad little efforts later when I have something finished and get to bring the prints home. Smile

Meanwhile I'd love to hear about printing projects you've done, tips and tricks, techniques you like, any general chitchat about printmaking! Boost my spirits about it, tell me how great it is once you learn how to do it, you know, all that kind of thing! :wink:

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I have a sneaking suspicion that you suck FAR less than you think. This seems like it would be really well-suited to your work -- you have a very strong line.

I loved making prints but haven't done it much. Definitely on my to-do list. Nothing to show for it, unfortunately... oh except for some potato prints sozlet and I did for Christmas cards last year. Laughing

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Here 'tis:

http://i34.photobucket.com/albums/d130/sozobe/xmascardcropped.jpg

Now try to tell me that yours suck! (I REALLY doubt it...)

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(They're supposed to be snowflakes, but as you can tell I was going for a kind of Christmas + Hannukah vibe since I was sending the cards to Christians, Jews, and agnostics, but that one that looks like a Star of David just didn't print right, it had some hollowed-out stuff in the middle -- potato is an unforgiving medium, man!)

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Well dear, everyone has to suck at something.

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Soz, those snowflakes are great! I'd never have guessed it was done with potato printing (which IS very unforgiving!). Cool!

I might be being too hard on what I've got so far, but even after not seeing them for a few days and coming back to 'em, which usually gives me more clarity on things, I still don't like them much. But I'm not really too concerned, it's a new medium for me after all, can't expect to get it right the first time.

Chai, point well taken...It's just so novel for me, you know! (kidding, kidding...)

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I took advanced printmaking six times.... heh.. in order to use the press, which was huge and very expensive.

Never did much monotype, just a class or two. Sort advanced kindergarden painting in my hands. But a lot of people have fun with it.
Thinking offhand of one of my favorite printmaker painters, Cicely Barth Firestein. She uses a big monoprint as a base, if I remember correctly.
Back with a link.

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Ossobuco wrote:

Sort advanced kindergarden painting in my hands.

Yeah, that's about where I'm at... Laughing

By the way, I just noticed your sig line, it's very helpful because I was trying to remember her name a month ago or so! I enjoyed her books, I'm going to have to see if they have any at the library next time I'm there. Range of Motion was really good, as I recall.

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Cecily Barth Firestein website -
http://www.paintingsdirect.com/painters/fire/fire.html#work

Women and Elephants Never Forget an Injury

http://www.paintingsdirect.com/paintings/fire/fire047.jpg

Figure #5

http://www.paintingsdirect.com/paintings/fire/fire039.jpg

Cats within Cats

http://www.paintingsdirect.com/paintings/fire/fire066.jpg

Geisha Turbulance

http://www.paintingsdirect.com/paintings/fire/fire071.jpg

Stormy Seas

http://www.paintingsdirect.com/paintings/fire/fire076.jpg

Well, there are seventeen pages of monoprint collages. I keep picking different favorites. I'd be buying at least one if I had the wherewithal. I love her wit, the energy, the movement...

I think Vivien works with monotype too, unless I'm confused on that.

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Wow!

So the detailed images are cut out and overlaid?

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Ok, just one more and I'll stop.

If you go to the site, in the beginning she describes her process.
Then, after looking where she's shown and so on, scroll down to WORKS, and click on that. She'll have a comment with each work.

This is on something like page 14 or 15 -

Who's the Klutz? (by Cecily Barth Firestein)

http://www.paintingsdirect.com/paintings/fire/bfire084.jpg

These are all pretty big and look great in a gallery room (to me).

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I tried my hand at monoprints using clay slip that had been dyed some very funkacious colors. Always the prints looked like cave paintings so I got on a thing where I was doing these cave style paintings in browns and blacks over cave walls with cartoon charaters that Id do by making reverse xerox transfers

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Hmmm. The interview with Firestein is interesting too.

Didn't mean to edge the thread away from Cyphercat - but I see I could have gotten a lot more expressive in my own work, and monotype is one entry to that. Also, Firestein mentions being impatient, that that is why she got into things faster than waiting for acid to etch and plates to wash. I've gotten more impatient over the years, and can see how it works for you, instead of being a fault, with this kind of printmaking-painting-collage combo.

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Those sound good, Farmer..

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ossobuco wrote:

Hmmm. The interview with Firestein is interesting too.

Didn't mean to edge the thread away from Cyphercat - but I see I could have gotten a lot more expressive in my own work, and monotype is one entry to that. Also, Firestein mentions being impatient, that that is why she got into things faster than waiting for acid to etch and plates to wash. I've gotten more impatient over the years, and can see how it works for you, instead of being a fault, with this kind of printmaking-painting-collage combo.

oh, by all means edge the thread wherever! I just wanted to hear some thoughts about printmaking, whatever people might be interested in talking about. I'll definitely be checking out that link as soon as I can.

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Osso, I too like Firestein's work very much. SO MUCH VIGOR. I don't think the kind of effects I like to achieve can be attained by means of the various printmaking techniques.
I think the monotype (and related products like the lithograph) is great for making enough copies of a single work for multiple sales.

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osso, thanks for posting those-- I still haven't gotten a chance to go to her site (too much reading to do...so many chapters...eek!) but the ones you posted are great. Inspiring-- I see you can get some really wonderful effects. I need to loosen up a little, which isn't really my style, but good to go in a different, more painterly direction than I usually do...Her work really shows how much energy you can get with this kind of printing, because you do have to work faster.

I'm heading back into the printing lab tomorrow to do some work on my own time, and it should be easier for me than working in class time; less distraction and bustle going on, hopefully...I'll keep trying and see if I can work a bit faster and looser... Confused

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Cypher, good luck. Frankly, I'm afraid of such techniques. As I am with most machinery centered methods.

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Oh, wait. All of those are single one of a kinds and there aren't any others.

That is the point, in fact. This woman, whose work has sold quietly over decades is the polar opposite of someone you allude to. Nothing machinery-esque about her work, though I'll agree she plays with patterns.

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Glass and paper aren't machinery, JL, thus the word mono. Check out my link, whether or not you get the particular work.

Er, not to try to sway you around.

Just that monotypes are right back at the beginning of printing, and often lend themselves to attention.

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I learned something new in class today: I suck at monotype.

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