The plates are then printed by press on dampened paper, allowing for the dry, water soluble media to transfer effectively.

Subtractive monotypes:  (monochromatic)  Students begin with a clear Plexiglas plate rolled flat with ink.  Using still-life as subject, students sketch the composition through the ink with a pencil or back of a brush, then work to achieve lighter values and model the forms using a variety of media to remove the ink (rags, cotton swabs, stiff bristled brushes, etc.). 

Subtractive monotypes: (3 color) Students begin by drawing a composition on paper, then trace that composition in marker.  That drawing is then placed on the back of a Plexiglas plate.  The plate is subsequently inked with a thin layer of transparent water based ink, beginning with the lightest value first (usually yellow).  Areas are removed that are to remain the white of the paper and anywhere a secondary color will be created by the subsequent printing of ink.  The plate is then printed using a T-system means of registration before being cleaned and inked with a second color (red, for instance).  The red is removed in areas that are to remain yellow, etc.  Blue, the last color, is printed.  Although only three inks are used, students learn about color mixing through the overlapping of primary hues, which create secondary and tertiary color.  

Additive monotypes:  This is a very direct and painterly approach where students paint directly on the plates with thin water soluble inks and brushes.  Careful attention is paid to not apply ink too thickly, as it tends to spread while passed through a press.

Trace monotypes:   A sheet of lightweight rag paper is placed directly on a plate rolled flat with ink.  Students use the back of a brush or any pointed implement to draw on top of the paper, taking care not to apply additional pressure with the palm of the hand (the pressure of the drawing instrument transfers the ink to the page).  The paper is then removed, revealing a quality of line that is unique to this process.  Additionally, the plate may then be passed through the press using a fresh sheet of paper, creating a “negative” of the original.

RELIEF PRINTING

Students are provided with a piece of uncounted battleship linoleum cut to the size of the proposed image.  Preliminary drawings are required, and the first drawing is transferred to the linoleum.  Using cutting tools, the student creates the image by removing areas to remain paper white, as the untouched areas will carry ink when rolled up.  Particular attention is paid to the size and direction of the cuts to be make, and the resulting marks left in the negative space. 

Proofing during the cutting process is encouraged to check accuracy and progress.  This proofing sometimes allows the print to proceed as a reductive color print, where a color is printed to the edition size, more cutting is made in area to keep that color, and subsequent color is printed on top.  Hand printing, with a baren or spoon is used, as is the printing press. 

SCREENPRINTING

Students are provided with a screen frame, and instructed to replace the fabric and retape the frame.  The intended image determines the method to be employed:  direct drawing/painting, paper stencil, or photographic emulsion.

The use of photographic emulsion allows photographs or drawings to be xeroxed onto clear acetate and exposed onto the screen in a positive manner.  This is the preferred method for hand drawn color separations, where several separate color images need to be closely registered. 

Color work can also progress in the same reduction method described in relief printing, with areas blocked out as printing of color progresses.  Registration is a crucialconsideration, although the transparent nature of the screen affords some latitude.

COLLAGRAPHS

Using a firm support, such as matboard, students attach various materials to create or simulate a variety of shapes and textures.  Flat objects, such as leaves, string, paper, fabric, foil or other thin materials can be glued to the surface.  Texture may also be created by applying acrylic modeling paste with palette/painting knives and manipulating the material, or by pouring sand or carborundum grit into the modeling paste, wet glue, or acrylic medium.  Modeling paste works particularly well as students are able to draw into it using the knifes or any sharp utensil.  If a variety of materials/objects are used to create the collagraph, acrylic medium is then used to seal the surface.

Plate may be inked and wiped as in intaglio printing, rolled as in relief printing, or both.

INTAGLIO PRINTING

Zinc and Copperplate Intaglio techniques have been taught in the past, and followed a traditional approach using hard grounds, soft grounds, and spray paint aquatint.  Nitric acid, Dutch mordant or ferric chloride were used to etch the plates depending on the metal used.  As the etching process favors proofing, more plate work, and re-proofing, the use of solvents and mordants could be considerable.  Acrylic plate intaglio is a more safety conscious alternative, which students working directly on acrylic sheets with drypoint tools.

Solarplate intaglio is a new and welcome process.  Students draw directly on transparent or translucent material and expose these images onto a solar plate using sunlight or a UV exposing unit.  The plate is developed in water, and ready to print after a post exposure time, again in the sun or under UV lights.  While this process does not afford reworking, it does mimic many of the unique characteristics of traditional etching.  It allows also for collage type work and the use of  laser printed transparencies.

ASSIGNMENT

Students create images for Solarplate Prints in a variety of manners.  As positives are used for exposure, images can be photographic, Xeroxed materials, or hand drawn on frosted mylar or tracing paper.  Once exposed andprocessed there is little room for correction, so the image needs to be well conceived and executed.

WATERLESS LITHOGRAPHY

Waterless lithography is a newly offered technique that offers many of the unique characteristics of traditional planographic printing with much less reliance on solvents and caustics.

ASSIGNMENT

Drawings are made directly on lithographic aluminum plates with a variety of materials.  Pencils and watercolor pencils as well as ball point pens work well, as do liquid washes made with Xerox toner.  Transfer and photographic techniques are possible also.

Plates are buffed with a dilute silicone solution and allowed to dry.  The image is washed out with mild solvent first, then water, and is ready to be inked and printed.

BOOK PROJECT

The book format is an appropriate method of presentation and storage of prints.  Whether a group of proofs, as a well thought out project, or as an assemblage of student prints, the book provides a more tactile, intimate, and leisurely viewing experience.

The two sections of Printmaking have regularly collaborated on a book project.  An overall theme is assigned, as is the media, and each student contributes an edition of prints to be collated and bound in a book, a copy of which is shared with each class member.

When possible, field trips have occurred at the start of the project, with a visit to the Prints and Drawing Department of the St. Louis Art Museum to see select work pertaining to the assignment.  A drawing excursion follows, most recently to the Missouri Botanical Gardens, and before that the Zoo.  These drawings are used as the point of departure for the prints that are to be used in the book.

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