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  • #456172
    darry85
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        Hey all,

        I’ve done my first monotypes today. I did some simple tests with plexi glass and speedball supergraphic black ink with a wooden spoon. I don’t have access to a press. I used kozo paper, french paper and some thick card stock paper and I’ve been having different results, but none of them the results I want.

        I started using the card stock first. I used it completely dry and it beaded the ink up and finer detail didn’t take the ink at all. I tried it damp and it was a little better, but it still didn’t take fine detail. I assumed it wasn’t a good paper to use.

        Next was the kozo paper. Dry it didn’t take the ink well at all or the impression was very faint. Damp it took the detail, but started to rip and fibers were coming up off of the paper. I couldn’t use the spoon with the paper damp at all. I could only use my hand.

        French was similar to the card stock and the paper buckled.

        I was thinking of getting some paper like rives bfk or arches 88, but without a press I don’t know if it’ll be too thick.

        I’m not sure what I’m doing wrong. I have some picture examples.

        card stock:

        kozo paper

        French paper

        Thanks.

        #623578
        DougThomas
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            From my experience…hand printing on heavier stock papers is usually pretty difficult without a press.

            You may want to try a small selection of Japanese papers. Mulberry is very popular and easy to print by hand. When I first started attempting printmaking I went to a local art store and purchased about 7-8 different papers.

            Mulberry was very easy to print on. Kitikata (I believe) was also easy to print on. There were some really nice Japanese papers that I loved the look of, but didn’t always work out for me. I wish I could remember all the papers names, but for most I’m drawing a blank.

            I would suggest seeing if you can a get a small assortment of those style papers (including a sheet of mulberry) and giving them a try. I was personally using them for relief printing and I’m not sure how well they will hold up for monoprinting, but it may be worth a try.

            #623579
            ic.Art
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                Try 90lb smooth, hot press watercolour paper that’s **barely** damp and cover the back of the print with deli paper to protect it while rubbing with the wooden spoon.

                *Barely* damp = lightly water mist the back of the paper and stack, wrapped in plastic with a weight on top, for an hour before using it. With Japanese papers you can lightly mist every third sheet then stack.

                I use Caligo Safe Wash with barely damp paper and I get a better transfer than on dry paper. Being water washable ink (so is the Speedball) the dampness just loosens the ink off the plate. I don’t get smudge or bleed if the dampness is slight.

                'Don't worry about your originality. You couldn't get rid of it even if you wanted to. It will stick with you and show up for better or for worse in spite of all you or anyone else can do.' - Robert Henri

                #623577
                IanBertram
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                    You don’t have to use printing inks. Try acrylic paints in various consistencies. You can brush them onto a sheet of plastic or glass or roll them out and draw into them just as with inks. If you want to take your time over it, best probably to add a retarder to slow drying.

                    A couple of examples, both very small (around 2″ on a side) but I’ve made larger.


                    I’ve also just bought a gel plate to experiment with. My mobility is limited at the moment so using a press is difficult and I’m hoping gel prints will be easier since I can work in place.

                    Ian
                    Website - https://ianbertramartist.uk
                    Instagram: - https://www.instagram.com/ianbertramuk/
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