Ink can be applied in a painterly fashion with a myriad of tools. The tools used will reflect the two basic approaches to drawing for monotype: Additive or Reductive.Īpplying materials directly to the printing element is called an Additive Approach. Any tool that can be used to apply or manipulate ink can produce an interesting effect. Mark-making in monotype is vast and exciting. This paper must be printed when dry and should never get wet. An example of a printmaking paper that does not contain sizing is Arches 88. Examples of printmaking papers that contain sizing are Rives BFK, Arches Cover, Fabriano Tiepolo, Magnani Pescia, Somerset, Stonehenge. This is usually done by soaking the paper in water and then blotting, prior to printing. In order for the paper to print properly, the paper fibers will need to be softened. Sized printmaking papers usually contain more sizing inside and less on the surface. Sizing is a material, usually a starch, that is added to paper to regulate how that paper absorbs moisture. There are two types of printmaking papers usually used in monotype: sized and unsized. This style of printing allows for thicker ink applications and selective printing pressure. Rub a barren, or similar tool such as a flat wooden spoon, on the back of the paper. Lay a sheet of paper on top of the printing element. If you do not have access to a press, printing by hand can have its advantages. Add Gamblin Tack Reducer to make the ink less sticky and better able to transfer to paper. If you notice that the ink is ripping the paper during printing or perhaps not transferring very well from the printing element to the paper, then the ink is too tacky. Ink “tack” is the stickiness of an ink, similar to what you would feel if you try to pull your fingers apart with ink between them. Low viscosity inks can “thickened” by adding magnesium carbonate. High viscosity inks can be “thinned” by adding either Gamblin’s Gamsol or Burnt Plate Oil #000. An ink with extremely low viscosity will be too thin and may be difficult to control because it flows too easily. If an ink has a high viscosity, it will be too stiff to transfer from the printing element to the paper. The viscosity of an ink refers to its flow characteristics. Do not use Linseed Oil to thin oil paint, as the Linseed Oil will adversely affect the paper fibers over time. Burnt plate oils are raw linseed oils that have been heated to change their molecular structure so that the oil does not affect the permanence of the paper fibers. If you decide to use paint directly from the tube, we suggest that you mix the oil paint with Gamblin Burnt Plate Oil #000, to lower the viscosity and improve the printing capabilities of the paint. When mixing oil paint with relief ink, it may be necessary to add plate oil and/or tack reducer as the oil paint and ink have different viscosities. You can also mix Gamblin Relief ink with Gamblin Artist Grade Oils to create an even wider range of color. Particularly as you print multiple layers of color. Their unique softer body and high pigment load allow them to be rolled out in thinner applications with greater color intensity, Gamblin Relief Inks are designed to suit the specific requirements needed for monotype printing. Mary Cassatt, Edgar Degas and Henri Matisse are all great examples of artists expanding and experimenting with monotype techniques. Rembrandt used monotype to record an idea as soon as it struck him. Some of the earlier known monotypes were made by the Italian artist Giovanni Benedetto Castiglione who used a subtractive technique to create effects similar to chiaroscuro. The immediacy and range of mark values work well with the luminosity that printmaking inks and procedures offer. Like painting, monotype is very direct and can be spontaneous or deliberate. Throughout history, painters have often used monotypes in their preparatory sketches. A monotype is considered one-of-a-kind and does not employ repeatable elements. A monoprint is usually a variation on a series, as there is a pattern or image on the painting surface that can be printed multiple times over, in a variety of ways. “Monotype” and “Monoprint” are sometimes used interchangeably but there is a big difference between the two. Koichi Yamamoto, Beni Monotype Monotype versus Monoprint
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