Monotype workshop

I spent Saturday at a workshop on colour monotype with Peter McLean at the Megalo Print Studio. It’s been quite a while since I tackled monotype printing (muttering indistinctly about high school), but I am drawn to the prospect of printing processes that are on the loosely disciplined side of things. The other spark for my interest was seeing the Degas monotypes at the Impressions of Paris exhibition held at the National Gallery of Australia in 2014. If my memory serves me correctly Degas made monotypes on an almost daily basis, using both the initial print and the ‘ghost’ or second print from the same plate which he often re-worked. But enough of that, I don’t think my prints are quite there just yet!

We were working on three individual  ‘plates’ of polycarbonate sheeting. One for each colour red, yellow, blue to create our colour print. My first efforts were very sadly reminiscent of my high school efforts, not least because we were making prints by drawing through the back of the paper onto the plate. I was struggling with getting my head around three colour printing and registration which, as usual, came a distant last.


Thankfully I took a break at this stage which allowed some mental re-grouping. It became apparent that other people’s prints were looking much better when they were run through the press. Duh! If you want to see the difference just look at the two prints below. I deliberately set up my three plates and printed them manually. I then modified the plates plates using tarleton and cotton buds to remove some ink I ran the plates through the press. What a difference.


I also made a ghost print of the plate which I’m tempted to work further on, but I think I need to keep as it is so I can complete my workshop notes. You can see the ghost print, it is the first one in the photo below.

The second print below was made after lunch when we swapped to making additive prints, using multiple colours on the same plate. No registration required (cheering happily), particularly as I chose not to use the full size of the plates.


This very rough approach, which I think of as a  ‘landscape’, was much more to my liking. 

My final print on the day combined the roughly applied ink with drawing with a cottonbud. I think this was the most successful print of the day.


For those interested in technical matters we were printing with oil-based inks on Hannemuhle proofing paper.

Voyage around a loungeroom

In 1790 Xavier de Maistre took a journey around his bedroom, during which he locked his door, put on some pyjamas and examined his room in detail. Last week, without the pyjamas, I traveled to a house in a nearby suburb where, along with 11 other people, I undertook a big journey into a range of ideas about making art. We made our journey through reading and discussion and we even made some art!

One of the most interesting aspects of the week was the shared library. Everyone attending was asked to bring several books that were favourites. We ended up with two bookcases just about full. Those who couldn’t bring books from their own library borrowed books from the local public and university libraries. This allowed us to be inspired by a range of artists and writers who we may not have encountered before. Ruth Hadlow, the workshop convenor also suggested ways in which we could use these books for inspiration, and to help develop new ideas to use in our work.

One artist whose book of sketches is one I’ll be tracking down to add to my library is Kevin Connor. Connor sayswhen you are up against a brick wall or in doubt, draw!”  – he also suggests that the best place to draw from is with your back to a wall, preferably in a friendly coffee shop or bar, so no one can look over your shoulder! Inspired by the intense lines in Connor’s drawings I took up my own pen to make this quick sketch of my coffee mug.

mug, ink with two feathers held together, 28 January 2015

mug, ink with two feathers held together, 28 January 2015

I used a small piece of Japanese writing paper, which I’d already used to blot some other pieces of work. To make the marks I held the shafts of two feathers together and worked directly from my bottle of ink.

A few days later I decided to draw a piece of clothing, one of the items we’d been asked to bring to the workshop. To get a piece of paper large enough to work on I roughly glued two long narrow sheets together. Without giving it too much thought I grabbed a sheet of newspaper I’d been using to catch spills and tore it roughly into the shape of my garment. I slapped the newspaper onto the backing paper with a mix of PVA glue thinned with water. I didn’t know whether this would work or not, but I knew I had nothing to lose. Once again I took my feathers and started drawing. It was interesting to see the difference between the areas of paper that had glue on it and that without glue. I also used the soft end of one feather to make larger marks.

Different textures on paper with and without PVA. The ink blooms on the untreated paper

Different textures on paper with and without PVA. The ink blooms on contact with the untreated paper.

The completed work was really lively and suggests some interesting strategies for making future work.

The finished drawing, ink on newsprint and Japanese paper.

The finished drawing, ink on newsprint and Japanese paper.

It is difficult to describe just exactly what I did during the past week. It was mentally exhausting, but I produced useful ideas for new work and had a ball making new drawings. What could be better than that!