Updated: Jan 1
I love how even the tiniest marks in a dark-field monotype can produce magical lights and textures you could never make yourself. It's even more dramatic when you're actually making them over a light box. The fact that you never know quite what you're going to get when you print makes it all the more exciting.
Keen to get back to printmaking after 15 years without touching a press, I was pleasantly surprised to find that non-toxic printing techniques had come on leaps and bounds in the interim. The added bonus was that they could easily be done at home. Initially, I used the simple but effective techniques generously shared online by the British printmaker, Dan Tirels. Working quickly and spontaneously was new to me but I enjoyed the freedom it gave me to explore without worrying too much about the results. The results did vary a great deal but, hey, I was thoroughly enjoying the process.
My very first monotype was Summer Days. After spending most of a class working on an etching, I decided to avail myself of inks left over by my classmates and try my hand at a monotype. Ably assisted by my Willoughby Arts Centre tutor, Meike Cohen, I produced three monotypes in quick succession. Not having worked in such a spontaneous way before, I really enjoyed the freedom of it. My wife still regrets that I sold Summer Days and continually reminds me that it's her all-time favourite! Ces't la vie, with monotypes!
Here's a sample of my experiments in tone and texture: