ABSTRACT MONOTYPE
Jessica E. Barber
Mixed Media Printmaker/Teaching Artist
Monotype is a wonderfully spontaneous, low technical form of printmaking that anyone can learn and
enjoy--from advanced artist to beginner, adult or youth. Simply paint on a sheet of plexiglass, rub the
image on damp paper…done!
The process can include a simple, painterly image pulled from a plexiglass, gelatin, or acetate plate, to a
multi-layered image featuring different layers of color, incorporating natural textures (leaves, etc) ,handmade stencils, or added to other media. This range of possibilities allows someone of any artistic level to
create a monotype. This class will be structured to focus on both technique and aesthetics for a wellrounded introductory printmaking experience for GRADES 3-5.
GOALS FOR MONOTYPE PRINTMAKING
By the end of the class, students will:



Know the technical process of monotype printmaking- plate prepping and printing
Practice safe printmaking habits with paint/ink/materials
Learn how to create images for monotype utilizing Createx monotype colors or watercolor, stencils, and
botanicals to create interesting abstract compositions
TENTATIVE STRUCTURE
- Brief introduction on monotype printmaking–show abstract empressionsist work of Kandinsky, Pollack, or others
for inspiration. Other influences can include contemporary printmakers that use this form of print in their practice.
-Place small amount of ink on center of plate, then use a brayer to spread over the surface until whole piece of
plexiglass is covered by ink in one color or many
-Light areas can be “pulled out” with rubber-tipped brushes, cotton swabs, paper towels
-Students can cut out stencils with paper or acetate to place on top of color. These stencils will be the white areas
of the composition that don’t receive ink. Leaves, ribbons, and other flat textures can be available to use for the
same purpose.
-After ink has dried, take a sheet of damp water and place on composition. Do not move once placed, as it will
smear the composition. Then, use a clean brayer, spoon or baren to rub painted image into wet paper. Check a
corner to see if ink is transferring to see if your transfer is suffient, or more pressure needs to be applied. Feel for
the edges of the plate to determine edge of the image
-If time left over, students can work collaboratively on a large monotype in a larger paint size based on a theme of
the instructor’s choice
---paper size should be torn with a straight edge, not scissors. Keep a border of 1”-2” inches around the
composition
-put all images in a group to discuss with the class
-clean up
-students will leave with 1-3 prints can be made during a class session
LIST OF SUPPLIES WITH APPROXIMATE COSTS
(* denotes optional materials/supplies)
wooden spoon or printmaking baren-for transferring prints by hand
pin press (hand press similar in shape to a rolling pin press –provides extra pressure to get a better transfer)*
table top press or mounted printmaking press supplied by school (superior results, but not necessary)*
Acetate and plexiglass (to use as plates) cut to 8” x 10” plates for first class, other larger sizes as students get more
comfortable with medium
Brayers-1 per student
Rives BFK Paper or good quality printmaking paper-enough for each student
Small Straight Edge, Ruled, 30” length
Plastic or Metal Ink Knives
Soaking Tray
Towel (for blotting paper)
Paper towels
Extra Acetate for creating stencils
Leaves (and other botanicals) for texture
Botanicals-leaves, ribbons, flat objects that can be use to mask out areas, if desired
Surfaces to mix inks-extra pieces of plexiglass work well
Gelatin plate-a plate made of plain gelatin chilled overnight may be used instead of plexiglass. A permanent plate
mimicking the qualities of a gelatin plate is produced by Gelli Arts (called a “Gelli Plate) and can be ordered online.
Acrylics, which dry too fast on a plexi-glass paint, can be used on a Gelli Plate, along with other water-based inks.*
Options For Printing with Water-based Paints
Use Createx Monotype Inks (coat plate with base first)
Akua Monotype Inks (coat plate with release agent first)
Watercolor Paints (coat plate with rubbing alcohol first)
Summary of printing tips:
-If using a press, make sure to bevel edges of the plate with a metal file at an angle so the plate doesn’t damage
the press
-Createx Monotypes and watercolor should dry on the plate before printing with a damp sheet of paper-the
wetness of the paper will activate the inks when they transfer
-All paper should be soaked for approx ½ hour before printing, then blotted with the towel right before using
To cut costs, less expensive paper can be used for water-based monotypes. Paper should be larger than the image
-Sometimes when printing, it may be helpful to roll a clean brayer over work being printed if there is no access to a
pin press or regular printing press
-Sometimes, enough ink is left on the plate to create a second print. This second plate, referred to as a “ghost”, can
be used as a background for multi-layered prints or other art projects (I will include some ideas for these in a
future lesson plan)
-Paer should be soaked in a tray ½ hour prior to use
***I will be updating this lesson plan soon to include photos of materials, supplies, and step-by-instructions
with images
Glossary of terms
Monotype-a one-of-a-kind pulled impression of an image. Paint sits on the surface with no engraving added
Monoprint- a one-of-a-kind variable print…a matrix (consistent image) is used in a versions of the print, but all are
unique. Can be a monotype added to a drypoint, lithograph, etching, etc.
Mixed media print-a print with another medium added-ink painted directly on the paper, pastels, etc.
Ghost-second print from the same image on a plate. They will be much lighter than the original. Edward Degas
frequently used his ghosts as a backgrounds for a new pieces of art, to which he added pastels
Examples by instructor:
Obscuring the View, 2010
(an abstract landscape created with oil paints with a printmaking press. White
areas formed by placing leaves on the paper. The second pull was used as a
background for another piece of art)
Spring, 2009
(hand printed with Createx Monotype inks on a gelatin plate prepared the night
before. White areas formed by netting and weeds)
Autumn, 2010
(created with oils mixed with a small amount of Graphic Gelled Medium on
plexiglass, then printed with a press in the printmaking studio. This piece is
actually two monotypes interwoven-the first pull and the second –much lighterpull)
Rhythm, 2007
(created with oils mixed with a small amount of Graphic Gelled Medium on
plexiglass, then printed with a press in the printmaking studio. The white
elements are from paper stencils)