Lesson video

Hello.

Hi there.

How are you doing?

I hope you're good.

My name's Dr. Jones and I'm delighted to be your art teacher today.

Today, we are gonna be learning all about experimenting with print and monotype more specifically.

This is part of our Art and Design Unit, Foundation Workshops: An Introduction to the Areas of Study.

And what a wonderful area to study it is as well.

Monotype is one of my favourite types of printmaking and I can't wait to get stuck in with you.

So let's get going.

So our outcome for today is to be able to experiment with unusual tools and materials to create expressive, original prints.

Let's get stuck in.

Some of the key words that we are gonna be learning and referring to today are monotype.

This is a printmaking process where only one strong impression can be made, making each print unique.

Ghost print.

This is a lighter second print made from leftover ink on the plate after the first print.

It creates a soft, faint image, like a shadow of the original.

Artists may use ghost prints to create layered effects.

So our learning today will be divided into two learning cycles.

The first is experimenting with tools to create a monotype.

So we're gonna get hands-on and get to learn this process ourselves.

Outcomes from today might look something like this.

Laura and Andeep are researching monotype printmaking.

"Many printmaking techniques let artists make multiple copies of an artwork.

" Andeep finds out that monotyping can only make one printed image apart from a ghost image.

So we can see a reference to this meaning in the word monotype.

So if we take that word and break it down into two segments, we've got mono, which means single or one, and type, which is derived from the Greek word typos, meaning impression or mark.

So that really gives us a clue as to what the word means.

Monotype create a single, original image.

The unique nature is what makes monotype so special.

It's such a wonderful form of printmaking.

I hope you it as much as I do.

So what makes a monotype different from other types of printmaking?

Is it A, that it can be easily reproduced multiple times?

B, it's created using digital tools.

C, it's only made with carving tools.

Or D, it results in a single, original image.

And you're correct.

Of course, it is D.

It results in a single, original image.

That is the nature of a monotype print.

So looking at monotype, we know that each monotype is unique rather than a reproducible copy.

It's an appealing printmaking technique for artists who are seeking to create singular works.

Each monotype has unique marks, which are created by manipulating ink directly on the printing plate.

Artists might use tools such as cotton buds, rags, brushes, fingers, or even forks to create expressive and experimental marks.

Artists inspired to create monotypes include: Bill Jacklin, who creates monotype, which explore high contrast tone and movement.

George Pratt, a comic artist who creates disconcerting figures in his monotype.

Mandi Stewart, who examines abstraction in monotype.

And Charles Lim Yi Yong, who creates skies and storms through textured monotype.

Creating a subtractive monotype can look like this.

So first of all, you select the imagery that you'll use.

You then apply an even ink layer to a smooth plate.

This could be done using a roller, which is also sometimes called a brayer.

Then you can use various tools to remove the ink to create tone and texture in your resulting monotype.

So how can you create light tones in a monotype print?

Is it A, by adding extra ink with a brush?

B, by pressing harder on the plate.

C, by removing the ink with different tools.

Or D, by using only dark coloured ink.

You can pause the video whilst you think about this.

Well done.

You're correct.

Of course, it is C, by removing ink with different tools.

Artists can use a range of tools to remove ink when creating a monotype.

What marks and textures do you think these tools will create?

You can pause the video whilst you discuss this with somebody.

Thank you for discussing.

That's some great responses.

So Jacob said, "I think the cotton buds will make thicker, more defined lines.

" Well done, Jacob.

And Sam said, "I think fabric and sponges remove more ink, creating softer textures.

" When printing your monotype, the process might look like this.

So you could have an inked plate, which goes onto a printing press.

Paper placed onto the inked plate.

Then you can use the cushion blanket and roll through the press, which condenses it and applies pressure.

And then afterwards, you reveal the mirror image monotype.

So which step is missing in this monotype printing process?

That's correct.

It is placing the paper onto the inked plate.

Well done.

When pulling your monotype print, some ink still remains on the plate.

At this stage, artists can pull an additional print called a ghost print.

This is created by repeating the printing process.

Although a ghost print comes from the same plate, the print will have different qualities.

Artists often use ghost prints to create layered effects or as a base for adding more detail.

How might a ghost print have different qualities to the original monotype print?

You can pause the video whilst you discussed this.

Well done for discussing that.

So now a little check for understanding.

Is this true or false?

A ghost print will be exactly the same as the original monotype print.

You're correct.

Of course, it is false, because ghost prints are created by making subsequent pulls from the same printing plates.

They are often fainter in quality and mark-making and tone, and may appear softer and different.

So now, let's dive straight in with monotype ourselves.

We are going to experiment with tools to create your own subtractive monotype plate.

Select the imagery that you will use.

This should be the correct scale for your plate.

So it needs to be the same size as your printing plate.

Prepare your acrylic sheet printing plate.

Apply an even layer of printing ink to your plate, ideally using a roller.

Place the image under the acrylic plate as a reference and secure both the paper and plate using masking tape so they don't move whilst you're working on them.

Use various tools to draw directly into the ink, removing ink to create a range of highlights and midtones.

As you remove the ink, you'll be able to see the image coming through underneath that you've printed out and put underneath the acrylic plate.

Use various tools to create a range of mark-making and textures.

You can pause the video whilst you do this.

Well done for having a go at that.

Of course, there's many possible outcomes from this process.

Your prints might have looked something like this.

Aisha says, "Using clear plastic for my printing plate allowed me to see my drawing underneath.

I could then focus on textures and marks.

" Well done, Aisha.

So the next step now that we've actually drawn into the ink using those different tools is to print your plate to create a monotype and a ghost print.

Place your ink plate onto the printing press or ensure it is secured to the table.

Place paper over the ink plate, ensuring correct alignment.

You don't want it at an angle.

You want it lined up straight neatly with your printing plate.

If you are using a printing press, lay down the blanket and roll it through the press.

This applies the pressure to print it.

If you're not using a printing press, apply pressure using a clean roller, also called a brayer, or your hands directly to the back of your paper.

Press it down onto the back of your paper so that you get that pressure onto your plate.

Then you need to pull the paper away from the plate gently to reveal the mirror image.

This will be your monotype print.

You can repeat that process again to create a ghost print.

This will be your lighter, softer print.

Have fun and enjoy.

You can pause the video whilst you do this.

Well done having to go over that process.

So there's lots of possible outcomes, but yours could have looked something like this goes print here, which we can see is a lot fainter and softed and a bit more muted than the original monotype, which is on the left.

So well done for having a go at experimenting with tools to create a monotype.

Now we're gonna move on to our final learning cycle in this lesson, which is developing a ghost print.

So as you can see, we've explored a monotype and a ghost print.

Why might an artist choose to develop the ghost print instead of the original monotype?

Discuss that with somebody.

Pause the video whilst you do that.

Well done for having a think about that.

Izzy has said, "The ghost print could have marks and textures added that the monotype already has.

" Well done, Izzy.

Alex has said, "It is paler and fainter so more of the experimentation would stand out.

" Good point there, Alex.

And Jen has said, "Artists may feel freer with ghost prints because of their softer, limited tones.

" These are all great responses.

So which is not a reason artists develop a ghost print?

Is it A, for further experimentation, which will help the printer stand out clearly?

B, strong tones are easier to experiment and draw on.

C, the lighter tones offer more freedom to experiment.

And D, to add more textures, which have been lost in the print.

Thank you for discussing that and having a little think about that.

It is B, strong tones are easier to experiment and draw on.

Of course, we know that is not a reason artist develop a ghost print because it doesn't involve strong tones.

How do you think the artist has developed this ghost print?

What materials or processes might they have used?

Well done for thinking about that.

So how has the experimentation improved the ghost print?

If we look at the original ghost print and then the more developed and experimented on ghost print, how has it improved it?

Well done.

So bright coloured paint adds a visual interest.

Pen marks add definition and shape.

Yellow oil pastel creates a broader tonal range and more visual interest.

Developing a ghost print allows artists to exercise creativity and explore ideas using a range of skills and techniques.

Artists should consider how additional materials will react with the existing ink.

Artists developing their prints into new works include: Paula Wilson, who uses her monotypes as one element in her mixed media works.

Lebogang Mogul Mabusela, who draws with glitter over her monotype in "O Kwatile," 2022.

Tunji Adeniyi-Jones, who uses inks in a painterly way.

And Mary Dalton, who combines printmaking processes in "Digging Up a Storm" made in 2024.

How could a ghost print be developed further?

Lucas has said, "I could work into it with paint pens, graphite sticks, or oil pastels then adding collage.

" Great ideas, Lucas.

Sofia has said, "I could work digitally to turn this into a repeat pattern and then print it onto fabric.

" What a great idea!

She said, "I might focus on adding textures again with fine liner pens.

" These are all valid ways to develop a ghost print.

But there are many possible options.

There's a multitude of ways that you can develop and expand from a ghost print.

So true or false?

Artists can only use acrylic paint when developing a ghost print.

You're correct.

Of course, it is false.

Artists can experiment creatively with ghost prints using different media.

They must consider how materials interact.

For example, watercolour may cause water-based inks bleed.

Experiment now with different media to add detail and interest to your ghost prints.

You should use your developments to improve the ghost print.

Consider and use your creative strengths.

Ensure you work on a dry print.

It's got to have dried.

Otherwise, it's gonna be affected by whatever media you put on.

Have fun exploring that process.

You can pause the video whilst you do this.

Well done for having a go with that.

I hope you really enjoyed it.

So there's many different possibilities, but you might have something that looks like this where you've worked with mixed media or you could have developed it digitally or you could have used pen or pencils or a range of other media.

So well done for exploring that.

I really hope you enjoyed that process and that you've learned a new skill there.

So sadly, that's all we've got time for today.

So thank you for learning with me today about how to experiment with print and more specifically about monotypes.

So just to summarise, each monotype is unique rather than a reproducible copy and so appealing for artists seeking to create singular works.

Artists use various tools to remove ink from the plate to create tools and texture when creating a subtractive monotype.

Artists can create a ghost print by repeating the printing process.

Artists often use ghost prints to create layered effects or as a base for adding more detail.

Developing a ghost print allows artists to exercise creativity and explore ideas using a range of skills and techniques.

And I hope that's what you've enjoyed and learned about today.

Thank you so much for joining me and I really look forward to seeing you again for another lesson soon.

Thank you and goodbye.