Tag Archives: monoprint

Searching for rhythm and energy

One thing I love about creating monoprint collages is how open-ended the process can be. I print the polycarbonate matrix in particular colors and wait for inspiration to come. A large plate (24 x 36in) was covered in tiny tape (1/16 inch chart tape) and printed with bright citrine green and teal blues. All I could think of was rhythm and energy. After several weeks, Inception emerged. (Be sure to click on the image and scroll down for a close-up. This collage is large!)

large monoprint collage with curves, in bright green and blue

©Elizabeth Busey. Inception. Monoprint collage, 24 x 36 in.

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With thanks to Eric Carle

I have been appreciating colorful collage papers for decades, thanks in part to Eric Carle. While many famous artists create collages using found images from the greater media world, Eric Carle created his work with papers that he painted. Take a look at your copy (or your child’s copy) of The Very Hungry Caterpillar to see Carle’s genius in the use of pattern and color.

Monoprints on monoprints on monoprints

With the exception of some old road and geological maps, everything I have been using in my monoprint collages comes from a monoprint itself. The image below shows a detail of a 24 x 36 inch monoprint collage I have been working on. With my exacto knife in one hand, and my paintbrush with matte medium in the other, small squares of other monoprints become part of a larger work.

Detail of a large monoprint collage.

Detail of a large monoprint collage.

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Tiny tape makes it debut

This week tiny tape makes it debut in my creation of monoprint collages. I used black 1/16 inch chart tape from Dick Blick and was pleasantly surprised at how well the tape behaved. To make sure the tape sticks well, I always clean the plate with denatured alcohol to remove any grease before taping. I also run the taped uninked plate through the press with several layers of newsprint to make sure everything stays stuck down. (more…)

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Trying Something New is Necessary

For creative people, trying something new can be absolutely necessary. And tremendously difficult. Perhaps you are one who can keep creating similar works with similar themes, but I am not. Following my “what if” questions down rabbit holes is what keeps me creating artwork instead of more regular and lucrative endeavors.

When to ignore that voice

I have had several conversations with artists lately who mention a new direction, but then quickly follow this with “but it is not what I DO.” This is one of the comments that I try to reject when it comes up in my subconscious, and this summer it has been a frequent visitor…

If you had met me up until July of this year, I would have told you that I was a printmaker who made large-scale linocut reductions. Period. I have occasionally printed on stained silk, all the while wondering if this was “allowed.” Part of this thinking comes from the rules and regulations of shows and festivals. I understand the need for boundaries, but mostly I think these constraints lead to limited art.

Following the idea no matter what…

I remember my first day at a monoprinting workshop at Penland School of Crafts where I told a fellow classmate that I just didn’t understand collage. It wasn’t what I do… A few days later, I felt compelled to collage elements onto a monoprint I had created that didn’t feel finished. Silencing my “rules” voice, I began and haven’t looked back. Now I can’t wait to get back to my latest monoprint collage. My drawing table in the main room of our home is continually surrounded by bits of cut paper. Thankfully my family is tolerant, and the cats love sitting on the papers.

Paper cut out shapes

Cut-outs of the cut-outs waiting to be included in some new creation.

What is something that you are dying to try? Do you have a voice that says, for example — “no I’m a painter, I don’t work three dimensionally?”

Thanks Henri!

I visited the National Gallery of Art’s East Wing (Washington, DC) recently and was delighted to find that the tower with Henri Matisse’s paper cut-outs was open. (The tower has limited hours in the middle of the day to protect the paper, but is well worth planning to see.) I have visited Matisse’s works since the museum opened in 1973. I even had a reproduction of Large Decoration with Masks (Henri Matisse, 1953) on my childhood bedroom wall.

Henri Matisse Large Decoration with Masks

Henri Matisse. Large Decoration with Masks. Gouache on paper, cut and pasted on white paper, mounted on canvas, 1953. National Gallery of Art, East Wing, Washington DC.

Matisse was a painter and sculptor throughout the majority of his life. He did use paper cut-outs as templates for larger scenery commissions, but it was after a cancer surgery in 1941 that he fully embraced paper cut-outs as a complete art form. Imagine how he must have felt to be confined to bed or a chair, unable to physically do the work that had defined his life. Under his direction, assistants created brightly-hued gouache-covered papers that he then cut into the shapes that are now so obviously his. Little did I know that forty-five years after seeing his cut-outs, I would give myself permission to create with paper myself.

Thankfully, Matisse ignored whatever critical voices he might have had (from himself or others.)

Is there something that has been calling you?
Why not just do it? Share it with us as a comment!
It may make all the difference.

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Monoprints as an Homage to Chagall

I first experienced Marc Chagall’s stained glass windows at the Church of St. Stephan in Mainz, Germany. (Read more about these windows here.) I love the energetic quality of Chagall’s work that seems to draw you — almost physically — into his world.

I created a spiraling monoprint matrix with 1/8 inch painter’s tape, and set out to see where my monoprinting would take me. The following suite of monoprint collages were created with Chagall’s energy and love of color in mind.

Monoprint collage Jubilant Expanse

©Elizabeth Busey. Jubilant Expanse. Monoprint collage (unique). 24 x 18 in.

Jubilant Expanse

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Variations on a Monoprint Theme

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A true monoprint is unique. But coming up with a new idea for each monoprint can be exhausting! So I have used my painter’s tape technique to create variations on a monoprint theme. I hope the traditionalists in the printmaking world will forgive me.

One of my latest variations uses a landscape/perspective matrix, with similar colors but different techniques. Images may help me explain…

Solvent drops and a view from an airplane

©Elizabeth Busey. Boulder to Birmingham. Monoprint collage (unique). 18 x 24in.

©Elizabeth Busey. Boulder to Birmingham. Monoprint collage (unique). 18 x 24in.

Boulder to Birmingham (title inspired by the classic Emmy Lou Harris song) considers an imaginary view from an airplane. I used translucent Thai Unryu paper to create the illusion of a curved airplane window. The cloud-like papers were a ghost print from an earlier monoprint. Ghost prints are made when you print the plate again without re-inking. I use thin Masa (mulberry) paper because it has a smooth texture and captures lots of ink while being thin enough to collage. The spots on the surface — are they raindrops? — were created by solvent. (more…)

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Adventures in tape Part 2

My final adventure with painter’s tape was to use it as it was intended. Also known as masking tape, its purpose is to protect a surface from paint or ink.

When I perused a collection of images I had gathered for inspiration during my workshop at Penland School of Crafts, I was surprised to see how many were of city window reflections.  Inspired by this, I first used a blank polycarbonate plate to print a vertical light blue-grey flat.

Newsprint sketch makes masking easy

Now it was time to create my matrix. Hint #1 — If you want to recreate this matrix quickly (you are going to pull the tape up) draw your design on a similarly sized piece of newsprint. Placed underneath your plate, it is easy to recreate your matrix. I wanted to create another version of my icebergs, but now the iceberg would be reflected in the windows of a building. This might be a reminder of the perils of global warming when we are ensconced in our people-made bubbles.

Monoprint plate

A monoprint plate, sans the masking tape, ready for printing.

The painterly approach proves problematic

I created the above image by rolling a very light blue on the top and darker pthalo blue below the waterline. Sharpie marks on the back of the plate helped me to keep the horizon parallel. I used rollers, palette knives and pieces of mat board to add color to the ice above and below.

I found there were several challenges to this approach. First, the ink tended to gather along the tape, which didn’t allow for a crisp a line when I removed the tape. In addition, the plate above has a great deal of ink on it. When I ran it through the press, some of it actually squished and ruined the reflection effect. Hint #2 — One solution might be to remove some of the ink with a sheet of newsprint…maybe with the press, or perhaps without.

Another problem was the removal of the tape. Once your fingers marred the ink surface, especially where it was flat, there was no fixing it. Hint #3 –Leaving “tails” along the edges made the removal much easier. Sticking the inky tape segments immediately to an old phone book kept them under control.

Two layer monoprint

This version used much less ink, with better results and no squish.

The next iceberg was simpler — less ink and no squish. But you can still see places where the ink has bled into the areas kept blank by the painters tape. I guess this is a problem that is universal.

Layers of tape are perfect for blind embossment

My final experiment combined my love of the mathematical patterns I painted on my bathroom walls. Some tape was one-layer, used to delineate polygons. I used small rollers to combine two colors on some of the shapes. I used four layers of 1/8 inch tape to create embossment lines that continue the pattern out to an embossed border. I discovered that 1/4 inch tape doesn’t yield nearly as crisp a line as the thinner tape. Hint #4 — Avoid getting any ink on the areas where you are doing blind embossing. Even a little ink will stain the tape and will print faintly.

Monoprint with blind embossment.

Tape provides the geometric structure and some linear blind embossment.

Will I use painters tape in the more traditional sense in my monoprints? It worked best in areas where a thin layer was rolled evenly over the entire surface. Looser, thicker ink was less successful. And yet I haven’t entirely let go of the idea of environmental problems reflected in skyscrapers.

Maybe the solution is out there waiting to be discovered…

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Adventures in painters tape Part 1

My adventures with painter’s tape continued during my time in a monoprinting workshop at Penland School of Crafts.  I should probably mention that monoprinting usually uses a plate with no matrix. No etched plate, no carved linoleum or wood block, no collagraph. Nothing repeatable.

I just had to have a matrix

Yet I felt compelled to try out my new tool by creating a matrix. My intention was to create the matrix, roll out the ink and then remove the tape. I eventually did this, thus destroying the matrix before I could take a picture of it. Here’s what a new matrix looks like, with both 1/4 inch tape and 1/8 in tape. You can see some ink residue on the tape even after it has been cleaned. (more…)

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