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Medrafhs and Ml|hbqs

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for Painterly Prlntmaking

Julia

'IB.

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A

thin

mat

is

edge of the b.The plate

is

hinged to the

left

plate

painted with

little

regard to margins.

c.The paper

hinged to the

is

right edge. 2.

The mat

placed over the

is

plate. 3.

The paper

then placed on

is

top and rubbed with a transfer tool. 4.

The

transfer

is

completed.

1 "•

'

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-

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1*

-;

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139

a orer b

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^

"Vfgf?**

tape a sheet of paper to your ble that

is

larger than the

•

work

ta-

paper you

plan to print on. This sheet will be-

come your

draw

guideline. Next,

in the

the margin widths

doing a single

you want.

If

you

transfer, place the

are

mat

in

alignment between the inked plate and the paper.

You

are ready to proceed

outer dimensions, or outline, of your

with the transfer, which will block the

support paper onto the paper guide-

transfer of ink

line.

Then,

your support paper

if

your

larger than

plate,

draw

is

that

you center the

Make

guideline

now

is

place your plate

complete.

If

size is

—

to

The

You can

and support paper on

top of the paper guideline lined areas

sure

plate properly.

—

you

in the out-

begin your transfer.

your paper and plate are the same

more than one

you begin, you can

transfer step, before

in the

outer dimensions of the plate within the support paper outline.

gins. If

on the monotype mar-

are doing

ensure proper registration by hinging

your monotype paper the plate edge the

left

plate

is

to the right of

and hinging your mat on

edge of the

plate. After

your

developed, place the mat over

first to block out unwanted Then bring your paper over the top of the mat for the transfer.

the plate ink.

and you want clean borders, here

a simple

way

to

keep a clean margin

Hand-Pressed Plate Marks Plate

same

feature to a

your plate and paper with

ic

is

an aesthet-

choice rather than a requirement.

you want transfer,

plate

marks

you must

on the work

table,

which must be

in a

first

If

hand-rubbed

place the plate

and then the paper,

larger than the plate,

is

placed on top.

For hand

transfers,

metal plates with

carefully beveled edges

most

work

best.

suitable tool for beveling

al file.

You should

is

The

a met-

bevel the edges of

your plate before you begin work on

When

you are ready

to transfer,

it.

your

paper must be moist. You can use the

back of a spoon bowl or a similar-

shaped metal

tool to

rub over the back

of the paper. Pay special attention to

around the pnnt. Cut a paper mat the size as

decide to use plate marks

marks add a three-dimensional monotype. Whether you

the plate edges

when you

ing the paper, since this plate

marks

is

are burnish-

where the

are produced.

57

Single Transfer by Hand:

Oklahoma

artist

A Demo

Betty Sellars

randomly

rolls oil colors

on her

make

monotype. She has

a traced

Plexiglas plate to

placed a drawing under the plate to

guide her. Next she lays a sheet of mulberry paper

Removing plate,

she

on top of

the inked plate.

the drawing from under the

now

places

it

on top of

the

mulberry paper. With the pointed end of her palette knife handle, Sellars traces over the drawing.

She rubs parts

of the drawing with her fingers, press-

ing the paper against the inked plate to

pick up shading.

With a drawing under the

Plexi-

glas plate to guide her, Betty Sellars rolls oil

paints randomly over

the plate.

After gently laying a piece of

parchment paper on top of the inked plate, Sellars removes the

drawing from under the plate and places

it

on top of the

plate

and

support paper. She then begins to trace the lines of the drawing

with the pointed her palette knife.

In

the areas where she wants

shading, Sellars presses the paper

with her fingers.

58

wooden end

of

Here she

GM8

pulls

Sellars,

the transfer from the plate.

Wisteria,

20 x 24" (50.8 x 61

.0

cm).

59

x 68.6 cm) image size with a (3.8 cm) border. Ciarrochi uses

will

be

top.

He

these papers because they are strong

and

fluid consistency. Ciarrochi usually

enough

to

begins his monotype by applying a

ings his

work

Multiple Transfers by Hand:

(48.3

A Demo

1 '/>"

A more complex image when

a

monotype

is

possible

made with one

is

on top of another. Ray

transfer step

Ciarrochi takes

advantage of multi-

full

them

withstand the multiple print-

ple transfers. His overlays of transpar-

which vary Irom open

ent pigment create greater color

and lend

variation,

producing strong

depths and atmospheric

He

requires.

also likes

to

dense grain

effects for his

For his largest monotypes, Ciarrochi uses two kinds of Fabriano paper, Ro-

saspina (220

lb.)

and Tiepolo (223

lb.)

on

a glass plate.

multiple transfers, he places two

en right angles plate,

ground color

that

To

at the

onto which he

wood-

top comers of his will tack his pa-

he usually makes up

area At

all

brought from

edge with strips of masking tape where

color densities

(61

smaller sheets, 22

x

x 86.4 cm)

im-

cm) border. The

(3.8

30" (55.9

cm), are chosen for a 19

x 76.2

x 27"

covers

it

Wooden

his

work

table

and

with a glass plate.

used on

right angles are

the top corners of the plate to secure the paper and ensure correct registration.

(Photographs by Ruth

Klein.)

Ciarrochi reinforces the back of

the bottom of the support paper

with masking tape.

(It is

reinforce-

ment for tacking the sheet to the wall away from the plate, which you see in the next step.) Then he attaches the paper to the

wooden

angles at the top of the plate with

push is

60

pins. Ciarrochi's transfer tool

a well-worn

push pins are used.

Next the

artist

places a drawing

guideline under the glass plate, which

Ray Ciarrochi tapes a guideline

drawing to

the

wooden spoon.

layers

work by hand well-worn wooden spoon he

Ciarrochi transfers his

sures

to fifty

show

through as he builds pigment

rochi reinforces the back of the paper

x 34"

is

in indi-

and allows

successive layers of color to

impressions to complete a work, Ciar-

Vi

ground color

times, he strives to maintain

per. Since

1

highly diluted with

the grain of the paper

white. For his smaller works, he uses

uses for a 24

is

he tends to work

transferred,

Arches Johannot. The larger papers are 27 Vi x 39" (70 x 99 cm), which he

age with a

paints in both a thick

them, before proceeding to another

Ciarrochi works

ensure accurate registration during

landscapes.

oil

vidual areas, sometimes completing

interesting effects to his

prints.

spatial

uses

turpentine. After the

for their distinctive textures,

with the paper on

in registration

with a

on

image.

If

his

Italy.

Using varied pres-

spoon, he manipulates the

and the

the paint

is

details of the

vers' liquid,

he

simply rubs the back of the paper with his hand.

Ciarrochi's palette of plate; his

paper

is

oil

paints can be seen

on an enameled tabletop to the

right.

Here, he begins to paint the

first

of

many

layers of

pigment on

his

tacked to the wall behind the worktable

Here Ciarrochi has flipped the paper over the painted plate to transfer the

first

layer of

pigment.

He rubs the back of the paper with the bowl of the spoon to

ef-

fect the transfer.

Once

again, Ciarrochi pulls the

paper away from the plate and applies additional color.

61

After a second transfer, he repeats the paint and transfer steps.

Ray Ciarrochi,

62

Manhattan June,

19 x 27" (48 3 x 68 6 cm).

Ray Garrochi.

Manhattan Spring Morning,

At i Ray Ciarrochi,

Manhattan Afternoon,

isi

19 x 27" (48.3 x

68 6 cm).

u JV

19 x 27" (48.3 x 68.6 cm).

Here are examples of completed monotypes that were produced Associated American

Artists,

New

York

in

the same manner as described

in

the demonstration. (Courtesy of

City.)

63

Press Transfers A

take a class to familiarize yourself with

printing press will provide uniform,

the equipment. Etching

consistent pressure to transfer plate

work

to paper.

amount

You can change

shop

of pressure applied with the

controls or by adding

With

raphy presses are used

the

a press,

you can

more also

and

in

lithog-

most work-

Registration in Press Transfer

combine

necessary that you keep the plate and

When

paper

using a press, you place the

press bed the (in

on

the

and then mechanically move

bed so

that

it

travels

under

may want

VI.

30 x 40" (76 2 x 1 01

64

to paper with

to

is

posi-

make

registration.

it is

Many

If

your print

der, the

is

to

have a white bor-

paper can be kept engaged un-

der the roller to hold the paper in the

tration guidelines that cover the entire

while you change plates, which you

If it

no

a

it fits

same position

there are

you have

under the

a drawing, Plexiglas

guidelines,

you

it.

If

you can make

for

subsequent transfers

should already have marked

and be-

tration

paper

on

the press bed.

may need

should have

simple marks with masking tape on the

all

to

for regis-

Sometimes the

be misted, but you

plates ready before

you

begin the transfer work.

.6 cm).

Brady worked with printmaker Maurice Payne

made

proper

transfer,

gin painting directly on top of

to rent

time at a professional print shop or

Carolyn Brady.

in

can place

(in a

lithography press). Because presses are

so expensive, you

possibility

presses have Plexiglas plates with regis-

press bed.

rollers

an etching press) or a scraper

Another

exactly.

techniques with your monotype work.

in registration

tioned.

where the comers

and paper should be

the size of your plate so that

blankets.

To achieve a successful

and paper

of your plate

template from mat board, cutting out

facilities.

embossing, lithographic, and intaglio

plate

press bed to indicate

one run through the

in

New

York City to

press. (Printed

make

this

monotype. She used

oils

to paint onto a copper plate.

by Maurice Payne; courtesy of Nancy Hoffman

Gallery,

New

York

City.)

The

transfer

was

When more

With a large sheet of paper covering the press bed, Maxine Richard places her plate

on top of

it

and makes simple

registration

marks with a

than one transfer

plate to the press

is

bed to ensure

needed, Dianne Haralson tapes a temregistration.

Here you see her placing

her plate into the template.

pencil.

At the Graphics Workshop, tration

is

graph paper under the

Plexiglas-

covered bed. The most

common

plate

and paper

sizes are desig-

nated with colored-ink

For multiple transfers,

Ron Pokrasso keeps

his

work

in

registration by en-

gaging the edge of the paper from the previous transfer under the ers

Then he simply removes the

plate,

plate

and replaces

it

with another

roll-

regis-

a simple matter with

lines.

Pokrasso has these simple lightweight metal paper holders handy to

keep the paper

pristine while handling. Folded

paper squares work well

for this, too.

which he has already prepared.

65

Multiple Press Transfers

When

Franchise Gilot works at Solo

Press in

New

makes

York, she usually

multiple-press transfers to develop her

monotypes. Here she used thinned lithography inks to layer opaque and transparent colors to achieve three-di-

mensional

effects. In certain

areas she

placed opaque colors next to transparent ones to create crisp edges. fects

hand to

would be harder transfer since

it

Such

to achieve

would be

ef-

with a

difficult

apply enough pressure in the areas

where the ink must go deep

into the

tooth of the paper.

The

entire press

bed

is

covered with

a Plexiglas sheet that acts as the plate.

A

drawing of the image was placed un-

der the Plexiglas plate to guide Gilot in

developing her monotype;

it

also

Francoise Gilot develops her

raphy press at Solo Press

in

monotype on the

New

York

Plexiglas-covered

bed of a Takach-Garfield

lithog-

City.

helped to ensure proper registration.

m ' mini! 1 jr

i

'M.

»

^^j _

*v~

*~*~\

Master pnntmaker Arnold Brooks, assigned to of paper with

work

in

After completing a

number of work

transfers, Gilot studies the

to decide

66

assist Gilot, places a

progress over the inked plate.

its

future development.

sheet

^^i

^ jt

Brooks runs the plate and paper through the lithography press, sometimes enlisting the aid of another pressDerson.

Other Types of Transfers There are a number of ways you can

your image

transfer effects. is

produce varying

to

For instance, the "ghost," which

the ink or paint

left

on the

can be transferred as another

work.

will

appear

than the original. freshly printed this is

known

terproof." In

appear as

it

and

fainter

You can

monotype

softer

also use a

as a plate;

as a "cognate" or "coun-

such a

case, the

did in the

first

image

plate

will

and

not be in reverse. The counterproof

could also be called an "offset" pnnt

because the image was

first

another surface (the print) that was

transferred

for

example, used ghost prints as the

number

then pnnted on a second surface (the

base for a

counterproof).

paintings.

Ghost Transfers The transfers made from ghost plates are softer and perhaps more lyrical than

work with ghost ink

Ron Pokrasso

plate after

transfer, It

to

Some

the

first transfer.

the

initial transfer

ond impression

Many

artists

and consider the tones

textures of the ghost print.

You can leave a ghost print as develop

it

sec-

the completed work.

artists prefer the lighter

and blurred

discard

is

or

with work on top. Degas,

the plate, as he

prefers developing his

is

er contrasts in his

some

of his pastel

that

remains on

able to achieve great-

work by

leaving

parts of his plate with the ghost

ink and adding fresh inks in other areas.

Because he usually continues

reworking

his ghost plates after impres-

sions are made, his plates are devel-

oped

as a senes or "states" of similar

monotypes. Suzanne Hodes, Blue Harbor, 12x10'/>" (30.5x26.6 cm).

Hodes developed this monotype by adding ink to a

ghost plate

after a traced

type

can

was still

monoYou

pulled.

see the

ghostlike lines in the final

image.

67

Ron Pokrasso, Panoramic Grove This

monotype was the

#

first

7,

23 x 36" (58 4 x 91 4 cm), 1987

print pulled

from the plate

in this series.

It

was done with

a single transfer.

.

Ron Pokrasso, Panoramic Grove #2, 23 x 36" (58 4 x 91 For the second

68

image

in

the

series,

.4

cm), 1987.

Pokrasso worked with the ghost ink

left

on the

plate

from the

first

transfer.

Ron Pokrasso, Panoramic Grove #3, 23 x 36" (58 4 x 91 4 cm),

Note

how

Ron Pokrasso, Panoramic Grove #4, 23 x 36" (58.4 x 91

Here

is

1

987.

the plate continues to change and develop.

the

last

monotype

in

the

series.

.4

cm), 1987.

Notice the underlying whispers of

work

left

on the

plate

from the previous

transfers.

69

Counterproofs and Cognates-

plate,

Offset Printing

different works.

commercial

In

blanket,

im-

"offset" printing, the

age on the plate

is

transferred onto a

which becomes

a plate that

you can

transfer a

is

pnnt

is

called the "cognate" or

"counterproof."

You can intentionally make a heavily pigmented plate from which a cognate impression

can be made. And

transfer the ghost impression

Nancy Bowen, Tiffany Terrace This

monotype was the

rigraphy inks.

70

1,

first

if

you

from the

40 x 30" (101 transfer

.6

have three similar but

work on

rectly to

of the roller or brayer

images

offset

your plate work. With

technique, you can

make an image plate

another area. To do so,

roll a

it

You can

repeat the

painted with se-

Bowen

pulled this

offset will

you

will need.

you can cover in

one

the

turn.

you can use two-di-

mensional painted imager)' or three-di-

lace or leaves.

Slow-drying inks and

paints are best for this technique. Just

Nancy Bowen, Tiffany Terrace richly

be

mensional textured matenals such as

wet,

then "unroll" the design onto another section of the plate.

a large roller,

In offset pnnting,

in

clean

it is still

roller diminishes.

to

paper or plate completely

and repeat

brayer over a design while

With

di-

this

one section of your in

amount of ink on the The size of the image

determine the circumference and width

top of each pnnt.

You can also apply

but each

roll,

impression becomes fainter as the

ways with

additional transfers or direct

x 76.2 cm)

from a plate

image by continuing the

They can be consid-

ered finished, or they can be developed

wet mono-

type onto another sheet of paper. This offset

will

individually in a variety of

used to pnnt the image back on paper. Similarly,

you

make

3,

sure your

40 x 30" (101 6 x 76

cognate (counterproof)

medium

isn't

too thin.

2 cm).

print

from Tiffany Terrace

I

Using a brayer with dark rolled

it

ink,

I

over a piece of lace (on

left side).

As a

result,

the lace cre-

ated a pattern on the brayer, leaving the negative pattern of

the lace (as seen on right

side).

The circumference and length of

my

brayer are of a size that will

let

me

its

entirety.

pick

up

this

wet image

in

When

I

roll

my

brayer carefully

over the picture, the

roller picks

up the image. Now can brayer on a clean surface duce an offset print. I

roll

the

to pro-

71

H

*«-.«*

Chapter 4

Working in

Mediums

Specific

Most water- and oil-based mediums monotypes, and can be applied brayer, brush, or

by hand. In

— such brushwork — can be used niques

are suitable for

to the plate

many

fact,

with a

of the

in all

to adjust the consistency of the

ther water or solvents

—water

make

medium by

and detailed

for

thinning with

water-based colors and

some mediums have

unique textures and

for

tech-

mediums. You may only need

vents for oil-based ones. However, characteristics that

roller,

same

as splattering, developing washes,

making

ei-

sol-

special

effects.

Watercolors, for example, can be diluted to such a thin consistency that you can pour them onto your plate. Printing inks are ideal for

monotypes because they are

specially designed to

be

used on a plate and printed on paper. For instance, lithography inks can be rolled thinly onto a plate and

still

maintain their

color saturation; and serigraphy inks can be used to create

marbleized and iridescent textures. If

you want the pigments

coat your plate with fore

Pass, detail,

Pleeze— Don't Let Sleeping Watchdogs Lie (page 83)

medium

you can

arabic or dishwashing detergent be-

you begin working on

will find little

Dewayne

gum

to transfer completely,

left

it.

After transferring the image,

on the

plate,

jgi

you

Watercolors Because of the transparent quality of watercolors, ors,

you can

blend col-

easily

develop washes, and create

blurred edges and textures.

dium

soft,

a

It is

me-

encourages you to work

that

spontaneously.

There are a number of texturing techniques that lend themselves to this

medium. For

you can apply

instance,

droplets of clean water into wet paint

and use

to create blotches,

a brush to

produce splattering textures on your

You can

plate.

also manipulate fluid

watercolors on your plate by blowing

on them or turning the directions.

It is

plate in various

possible to develop

strong contrasts in an image by com-

bining multiple layers of transparent

washes with

thick,

opaque

brushstrokes.

You can

transfer watercolor

while the paints are plate, fer

still

work

wet on your

or wait until they dry and trans-

damp

the image to

paper. Coating

gum common

your plate with such materials as arabic, starch formulas, or

dishwashing detergent, helps make a

more complete

Keep

transfer.

in

than

when

fore,

you should apply

they are

vivid colors than

your

final

first

applied. There-

thicker,

for

work.

Wet

With watercolor, you and

Paint

usually paint

is still

on

paper

transfer to dry

while the paint

wet. Because wa-

tercolors are fast drying, they

when you

more

what you plan

Transferring with

the plate

mind hue

that watercolors dry in a lighter

are developing a

work

well

monotype

with multiple hand transfers. Waterleaf papers, such as Arches

88 or an unwork best

sized Oriental paper, usually for transferring

will readily blot

wet watercolors, as they

up

To ensure proper

the pigment. registration for

multiple transfers, you can hinge the

back of the paper

to the

back of the

plate with low-tack drafting tape.

74

Julia Ayres,

Angeles

Crest, watercolor

monotype. 22 x 30" (55.9 x 76.2 cm),

collection

of Mr. and Mrs. R. K. Rawlins, Sedona, Anzona.

developed this monotype with multiple hand rubbings, transferring the wet image on the plate to a dry sheet of Arches Cover paper. By thinning the watercolors to a fluid consistency, was able to produce soft, I

I

transparent colors and textures.

75

Transferring Dry Paint

cation. Later, with the aid of a press,

to Moist Paper

transfers the

You can also allow watercolors

on

the plate

and

transfer the

moistened paper.

to dry

image

method is that it allows you more time to work on the image

of this

before

it

is

to a

he aligns the

distributed for a successful transfer.

You can accomplish your paper

plate.

result, the

where the colors mingle often dry

monotypes. While the paints are

drying,

portant to have the moisture evenly

same

size before

it is

run through the

With

become an

in a relatively

by soaking

this

tub of water for about

ward. You can also use a

dry

this

ural

method, the direction

and the brush

sponge

test,

surface;

plate.

the paint has dried,

you can lift

wet

nat-

moisten both sides of it

lies flat.

Your paper

press your wrist if it

feels

on

damp

the wet paper

but does not

transfer moisture to the skin,

out

read)'. If the

paper

is

it

is

too wet, you can

areas of color. Using a brush moistened

blot the surface with paper towels or

Reader's Digest magazine, has created a

with water, you will be able to rewet an

place the paper between blotters

number

area

Richard Berenson,

art director for

of watercolor

monotypes by

and

easily blot

away

paint. Splat-

roll

drops of paint or water can be

and

out the excess moisture. Waterleaf

papers need to be misted and

transferring dry paint to moist paper.

ters or

Working on

applied at various times during the dry-

a few minutes under a plastic sheet

ing period.

before transfer.

tracing vellum, Berenson

paints his watercolor landscapes

Richard Berenson, Tree

by Gate,

on

lo-

watercolor monotype.

14x11"

(35.6 x 27.9 cm).

Using vellum

oped

this

—a lightweight material —

landscape on

site

and

let

it

dry. Later

to moist paper using an etching press.

76

for his plate,

Berenson devel-

he transferred the image

left for

Richard Berenson, Tree in Field, watercolor monotype, 14 x 11" (35 6 x 27 9 cm)

(© Richard Berenson 1987

(© Richard Berenson 1987.)

)

For this monotype, Berenson painted

cleaned with a tooth

in

is

sheen disappears. For an additional wet

used to stamp color on the

Once

after-

it

large,

ready for transfer just after the wet

integral part of the image.

use subtractive techniques to

to

the paper until

textures

Other tools such as sponges can be

you can manipulate these areas

with a brush.

in a

twenty minutes and blotting

of your strokes

im-

It is

he wants a

manner, brushing paint thickly on the

apply watercolor washes

into interesting patterns that are ideal for

in the paper,

you should pre-

plate dries,

pare your paper for transfer.

press.

nonabsorbent plate surface, they

areas

When

You can also work

tend to run and puddle. As a

As the

he

the vellum to

vellum on a beveled metal plate of the

transferred.

When you

mark

plate

lat-

moistened paper. The advantage

er to

work from

common

on a

zinc plate that

had been

abrasive household cleaner, which

the metal surface for the watercolors to adhere

to.

made

a

Yolanda Fredenkse paints her watercolor directly

on an aluminum

lithography plate. At times, she

lows the paint to run at a angle as

it

dries.

She also

or with a moist brush. is

al-

slight lifts

When

col-

she

ready to print the image, she

places the thin plate over a sec-

ond

plate of the

same

material to

achieve the proper pressure for

the etching press. She then places a sheet of moist paper on top of

her plate. Fredenkse checks the transfer carefully before pulling

the paper from the plate.

Yolanda Fredenkse, Sculling

Under Key Bridge,

watercolor

25" (44

5x63.5

cm).

77

Coating the Plate

When you

coat your plate before ap-

plying paints, your transfer will be

more complete because the coating lows very

medium

little

Sometimes

the plate after the transfer.

may

there

not even be a ghost on

you can use

the plate. For the coating, liquid

al-

remain on

to

gum

arabic,

Winsor

& Newton

Aquapasto thinned with water, starch

common

formulas, or

dishwashing

detergent.

When

teaching workshops and for

personal use,

with

gum

I've

arabic.

had the best

The

results

liquid form

is

available in large bottles for the print trade.

gum

dispense the

I

arabic into

smaller squirt-top bottles that are con-

venient to lines of

work

gum

with.

arabic

1

on

squeeze small

and

the plate,

then, with the help of a moist brush or a

damp

paper towel,

I

evenly spread

to coat the entire surface.

may be done on

it

While work

a wet-coated surface,

I

prefer to let the solution dry before

on top with

painting

watercolors.

Janet Siamis discovered that liquid

dishwashing detergent

will also act as a

coating agent. She brushes the deter-

gent on a thin, frosted Mylar plate and allows

Her images

to dry.

it

oped with her

are devel-

regular watercolor

palette,

but she uses the colors

thicker,

more

vibrant manner.

in a

While

working, she keeps her colors fresh and liquid

from the tube.

Siamis allows her paints to dry completely before they are transferred.

She

soaks Arches hot- or cold-pressed watercolor paper for at least an hour to

remove the

sizing.

blotted by placing blotters until the

peared. is

The dry

The paper it

She

then large

wet sheen has disapplate, paint side

effects the transfer

down,

damp

then placed on top of the

per.

is

between two

pa-

by hand

rubbing the back of the plate with a

number a brayer,

78

of tools, such as a rolling pin,

and

a

wad

of cloth.

Janet Neal Siamis, Waterlily, watercolor monotype. 18

x 26" (45.7 x 66.0 cm).

monotype was made on a Mylar plate coated with a common dishwashing detergent that was allowed to dry. The image was developed with watercolors and allowed to dry before being hand transferred to

This

Arches hot-pressed watercolor paper.

79

Pouring Technique California artist cessfully

developed watercolor mono-

types using a first

manipulates the "pours" by

Dorothy Hoyal has suc-

pounng

technique. She

coats a Mylar plate with a thin lay-

er of diluted

This

is

dishwashing detergent.

allowed to

dry.

Then,

in dispos-

able cups, she thins watercolor paints

with water. She pours her pigments on the plate in a

random

fashion.

As im-

ages begin to suggest themselves, she

plate

to dry.

Dorothy Hoyal,

80

Summer

Day, 22 x 30" (55 9 x 76.;

the

brushes.

The detergent coating

also

adds a

spotty texture as the paints begin to dry.

Hoyal continues

to

develop the

work by both removing and adding paints even after the initial work has dried. When the image is complate

pleted, she transfers

it

dampened Arches 88

Dorothy Hoyal poured watercolors on a frosted Mylar plate and allowed

them

lifting

and moving the wet paint with

by press

to

paper.

Details

were then added using

a small

round brush,

More Texturing Techniques There are a variety of materials that you can use to create diverse textures.

Crumpled

facial tissues

example,

for

make

and sponges,

ideal

stamps

for im-

pressing their textures onto your plate.

Using a toothbrush, you can splatter water or paint onto the plate. With a palette knife,

you can scrape paint and

produce expressive for

an abstract

linear textures.

effect,

you can use

braver to press crumpled plastic

onto specific areas of your wet

And a dry

wrap

plate.

Joanna Duck plastic

V

wet watercolor.

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