syllabus — ART 395 — Alternative Printmaking

Monotype and More (without a press)

overview:
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.
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).

assignment:

For this assignment, you will create a body of work around a single concept or related group of concepts. The topic is up to you. You may wish to consider the formal qualities of this medium as you consider your concepts. For example, 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?

The second component to this assignment is for you to experiment with multiple processes of monotype, or you may also include monoprint processes in your body of work (the “and More” part of the assignment). As covered in your prior assignment and course content, experimentation is incredibly helpful for building skill in a new medium, but also has deep and meaningful conceptual purposes.

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

1) Experiment in the ideation or conceptualization of the work.
(for example experimenting in your sketching stage, or considering printmaking as a purely conceptual form)

2) Experiment with your printmaking plates or other support matrix before applying pigment.
(try using glass or tile or metal for your plate instead of the plexi provided, or sand/scratch the surface of the plate)

3) Experiment when applying or removing pigment from the plate.
(in addition to the ink and blending medium provided, try adding colored pigments or other components to the surface of the plate like watercolor, marker, dye, etc.)

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

5) Experiment after the print is created.
(try mixed media additions/alterations or creating 3D forms)

complete or submit the following items for your project grade:

• PREP WORK:
  Present the concept for your work by posting a 1-2 paragraph statement and a sketch or other form of ideation on D2L (a photograph of a physical sketch, a digital sketch, written concept map, etc). Instructions will be posted in the D2L submission folder.
  
  
• MONOTYPE REQUIREMENT:
  A minimum of 3 monotypes that are finished quality artworks and that address the same concept. Editioning your work is optional (see: Edition Information PDF).
  
  
• ADDITIONAL SET:
  A collection of prints or experiments related to monotype and/or monoprint processes and/or concepts (items may be loosely related). Items in this set should exhibit at least one of the following: a continued experimentation with the monotype/monoprint form, a large range of types of experimentation, a great depth into a certain kind of experimentation, or an additional take on your concept(s). Minimum of 8 items.
  
  
• VARIETY REQUIREMENT:
  Somewhere in your body of work you must utilize at least 3 different processes of monotype and/or monoprint.

• IN PROGRESS SUBMISSION/FEEDBACK:
  The in-progress feedback will be set up the same way as the last assignment.
  Click here for directions on how to submit work for feedback.
  
  
• PRESENT:
  The critique will be set up the same way as the last assignment.
  Click here for directions on how to submit work to the submission folder for me to grade and to the critique discussion board for class critique.
  
  
  

checklist:

• Prep work: Statement and sketch/ideation.
• 3+ monotype prints
• 8+ additional results/prints related to monotype and/or monoprint
• In progress & final submissions of work
  NOTE: a minimum of 3+8= 11 or more results/prints
  NOTE: use at least 3 different processes of monotype and/or monoprint
  
  
  

grade criteria for monotype prints:

• Challenge of concept, message, or purpose
• Success of concept, message, or purpose
• Effort exhibited in the initial sketches for your work
• Overall composition
• Detail and complexity of your design (ex: contrast of light and dark values, application of line-work, etc.)
• Skill and craftsmanship in creating your prints
• Quality and craftsmanship of printing
• Finished quality of the work; appropriateness for portfolio or exhibition display
• OPTIONAL application of limited edition process
  To edition, gather your prints and select the prints that look identical (sometime a little paintbrush or X-acto work can remove a small blemish). You may choose a few prints to be Artist Proof images if you want (traditionally 10% of images); Label those as “A.P.” and put them aside. Count your remaining prints and the resulting number is your edition size. You may choose to keep a few Trial Prints / Test Prints that might even include your notes written on them, but label them “T.P.” See: Edition Information PDF for further information.
  
  Prints are labeled under the image in sharp pencil, left to right: # of print / # in edition, title (if applicable), signature and date.

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-design, 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.

resources:

· MoMA / Khan Academy demonstration of Edgar Degas’ monotype process (here)

· Creating colored prints through a multi-layered process (here)

· Check out all the MONOTYPE and MONOPRINT demos posted on D2L

* TERMINOLOGY NOTE: 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.