syllabus — ART 229 — Beginning Printmaking

Monotype, Monoprint, and More (hand printed)

terms:

Monotypes are among the most flexible forms of printmaking because they can be created in so many different ways. However, unlike other forms of printmaking, they usually produce only a single, unique print (although ghost prints are possible). The monotype printmaking process is often confused with the monoprint process because the two genres share formal similarities. To add to the confusion the terminology is spelled similarly, and before contemporary times the terms had been used non-specifically for unique prints. Monotype and monoprint can be distinguished as follows:

MONOTYPE – A singular image created by manipulated pigment on a smooth, un-etched, un-carved surface or printing matrix.
Note: One cannot create a limited edition monotype because they are non-identical unique prints.

MONOPRINT – A print that is similar to a monotype, but with some element of repeatable mark (ex: a carving, a stencil, or something added to the matrix/surface other than pigment). The repeatable element might be nearly the entire image, which would result in nearly identical works (ex: a drypoint where additional ink is added to the plate and manipulated). On the other hand, the repeatable element might be a minor component of the image, which would result in distantly related works (ex: a multi-process monotype where one repeatable stencil is added making it a monoprint).
Note: Some of you have already created a monoprint for the drypoint assignment by leaving ink on the surface of the plate an manipulating it or painting in to it or by experimenting with multiple colors on a single plate.
Note on terminology: I’m using a common contemporary conception of monoprint to describe a monoprint as “a print that is similar to a monotype, but with some element of repeatable mark.” Some definitions stipulate that monoprinting must involve some element of permanent repeatable mark. Given this dispute, one could argue that the use of a removable stencil falls somewhere in the gray area between a monotype and a monoprint.

overview:
Consider this project as an opportunity to focus on an issue or topic that is important to you. You will address your concept in two ways: with a series of prints intended as finished and final works of art AND with a collection of experimental prints/results. You may choose to develop two different ideas for the different sets, or use both methods in a way that supports the development of a single concept or technical development.

Take time to consider the subject matter and how you want to approach it. What will you need to research to develop your idea? Who do you hope to connect with in your work? Will the tone of your message be serious, humorous, formal, educational, aggressive, ironic, etc? How might the printmaking medium affect the development, interpretation, or delivery of your message? What are the implications of using a process associated with multiples (printmaking) to create a single/unique artwork? How is it meaningful that monotypes have incredibly varied and experimental methods for production?

There are many options for experimentation both conceptually and throughout the process of printing:

1) Experiment with your sketch or plan for the work.

2) Experiment on or with a plate/surface/matrix.
(try sanding the surface or scratching with different tools)

3) Experiment when applying or removing ink from the plate.
(try leaving ink on the surface of the plate and adding drawings or creating textures)

4) Experiment when choosing a support for the work.
(printmaking paper, fabric, etc.)

5) Experiment after the print is created.
(for example pairing with mixed-media like watercolor painting to add color, or can be shaped into sculptural works, or can be viewed or contextualized in new ways)

complete or submit the following items for your project grade:

• PREP WORK:
  Present the concept for your work. (SEE: the Developing Ideas assignment)
  
  
• IN-PROGRESS WORK:
  Photograph / document your work in progress and share it on D2L following the appropriate procedure (SEE: the In-Progress Feedback assignment)
  
  
• SERIES:
  A series of prints intended as finished and final works on quality printmaking paper or appropriate; minimum of 4 prints. All 4 prints should address the same conceptual topic but may or may not be related in any other way since you will be creating unique prints.
  * Either your traditional edition or experimental set must include layered or multi-color prints (using at least 2 different plates or plate designs); minimum of 4 multi-layer prints.
  
  
• EXPERIMENTAL SET:
  A collection of tests or experiments that show either a large range of types of experimentation or a great depth into a certain kind of experimentation, or an additional take on the concept you explored in your series of prints; minimum of 8. They may be on any form of support (not just printmaking paper) and may be signed or unsigned. You may include monotype and/or drypoint and/or monoprint and/or items that don’t fit a particular category, but that experiment with the concepts, techniques, or materials. Usually students choose to make different designs for the more traditional series and experimental set/prints, but you may use the same design as long as it requires two unique plates or plate designs.
  * Either your traditional edition or experimental set must include layered or multi-color prints (using at least 2 different plates or plate designs); minimum of 4 multi-layer prints (all of the traditional edition or at least 4 of the 8+ experiments).
  
  
• PRESENT:
  Photograph / document your final work and share it on D2L following the appropriate procedure (SEE: the Critique assignment)
  
  NOTE: If you feel that your concept for this project will not be possible within these stated requirements, please talk to me so we can work out a different set of requirements.

grade criteria for limited edition prints:

• Challenge of concept, message, or purpose
• Success of concept, message, or purpose
• Effort exhibited in the initial sketches/pan for your work
• Overall composition
• Detail and complexity of your design (ex: contrast of light and dark values, application of pigment, etc.)
• Skill and craftsmanship in creating your plates
• Evidence of 2 plates or plate designs*
  * Either your traditional edition or experimental set must include layered or multi-color prints (using at least 2 different plates or plate designs); minimum of 4 multi-layer prints (all of the traditional edition or at least 4 of the 8+ experiments).
• Quality and craftsmanship of printing
• Finished quality of the work; appropriateness for portfolio or exhibition display
  
  
  

grade criteria for second or experimental pieces:

• Challenge of concept, message, or purpose as it applies to the work.
• Effort exhibited in formulating a plan for beginning your experimentation; this may or may not be sketches.
• Breadth and/or depth of experimentation. (This could include: use of materials, multi-layer, mixed-media, color experimentation, color-mixing, etc. or more conceptually based work.)
• Evidence of exploration and multiple trials. (If this component is not clear in the final prints or if the final prints no longer exist, please provide a statement or other form of documentation.)
• Quality and craftsmanship as it applies to the work.
• Evidence of 2 plates or plate designs*
  * Either your traditional edition or experimental set must include layered or multi-color prints (using at least 2 different plates or plate designs); minimum of 4 multi-layer prints (all of the traditional edition or at least 4 of the 8+ experiments).

checklist:

• Developing Ideas assignment
• In-Progress Feedback assignment
• Series of 4+ prints
• Experimental set of 8+ results/prints
  Note: 4 series + 8 experiments = 12 items/prints to submit
• Evidence of 2 plates or plate designs
• Critique assignment (final submissions of work)
  
  

resources:
Common printmaking terms & vocabulary
Edition Information PDF

Ink, Paper, Politics: WPA-Era Printmaking from the Needles Collection (download PDF)

Artists who yearn for art that transforms by Lisa Gail Collins (text and PDF)

Ester Hernandez on community leadership and art (3min video)
The Design of Dissent: Socially and Politically Driven Graphics by Milton Glaser (PDF)
Print Liberation by Nick Paparone and Jamie Dillow (book)

DePaul Idea Realization Labs, IRL & IRL2 (virtual/in-person; open to alumni)
MoMA / Khan Academy demonstration of Edgar Degas’ monotype process (here)

Creating colored prints through a multi-layered process (here)
And of course MONOTYPE and MONOPRINT demos in class and some posted on D2L