monotype print

Time to admire – gelatin printmaking

gelatin print tips, mixed media printmaking, monotype print / /

Gelatin Printmaking can be fast and furious. The process lends itself to pulling lots of prints and layers with minimal preparation.

abstract landscapes Linda Germain

It is easy to get lost in the process.

print cards with the gelatin plate

I often tell my students that it can be like a roller coaster of ups and downs. I may pull several pleasing impressions to be followed by several ugly prints.

gelatin prints by linda germain

To enjoy the roller coaster ride of gelatin printmaking:

  1. Know ahead of time that there will be prints you like and others you don’t
  2. Focus on the things you like, rather than the problems
  3. Take time to admire your successes. Pin it to the wall, stand back and enjoy.

Another tool I use to create success in my printmaking, is to embrace the 80/20 rule. If I get 2 outstanding prints out of 1o then I consider it a success. Those 8 other prints inform and create space for the magical pieces that I really love.

grass print by linda germain

If you want to create more pleasing gelatin prints, then join us in the online class, Monochromatic Mountains. Read all the details on the workshop page.

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Value matters – Printmaking

Gelatin plate print, mark making, monotype print, stencils, techniques / /

Sometimes, I look at a print that I am working on and feel that something is missing. I need something to make it pop or something to pull it all together.

gelatin print with hand stamped marks

Often I can do that by adding a very dark mark or a very light mark.

mountains scape by linda germain

Value, the range of light to dark is often over looked. Color is easier to see so it often gets more attention.

Some painters do grey scale “drafts” before they paint with color.

range of value

One way to check for range of value is to take a black and white photo of your print. Do you see some very light areas as well as some very dark marks?

abstract landscape gelatin prints

Another way I check for range of value is to squint at the print. If it blurs into one soft medium mass, then I need to look for ways to add dark darks or light lights.

If you want to build your skills for creating prints with a strong range of value, then join us in the upcoming online class, check out the current printmaking classes.

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Explore potential marks

monotype print / /

One printmaking assignment in Art School might be to see how many different kinds of marks you can make on a relief style block.

sampler marks foam relief plate

This would usually be a carving process with wood, linoleum or rubber. I played with the assignment to make the sampler blocks above with soft foam plates.

woodblock printing tools

I think I like the assignment, because it focuses on exploration and discovery. There is no pressure to create an end product.

relief plate prints

But in the end, the marks can be used to create texture and value in other wise simple impressions.

If you would like to explore this low tech method of relief printing, the read the details about the upcoming, online workshop and join us.

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Printing with little spring flowers

inspiration, monotype print, tools / /

Everything is starting to bloom in New England.

apple blossoms in may

Today I gathered some violets and apple blossoms from the woods.

print with flowers and cut press

Then I plate with printing them with the XCut Xpress craft press.

I had some pleasing results.

monoprinted violets

I tried to keep the buds alive by keeping them in water until I was ready to print.

  • I just positioned the flower on dry print paper.
  • Covered with drawing paper and felt
  • Then ran it through the press

apple blossom buds for printing

It is amazing the delicate details that are captured. Enjoy!

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Tweak your found stencils – gelatin printmaking

monotype print / /

One of the things that I love about gelatin printmaking is printing with found stencils, like weeds and ferns.

find stencils in cracks in the sidewalk

What I find changes with the season. I look for very flat, flexible, delicate and strong. Weeds are often stronger than cultivated plants. They have to be to survive!

Spring greens are usually tender and weak

Here are my guidelines for collecting grasses, weeds and botanicals for gelatin printmaking:

  1. Flat is very important. Grasses can be trimmed or thinned out to make it flatter. Better negative space. Gently press between books or Plexiglas to flatten.
  2. Strong means they will last at least one day of printing. And they are easier to handle and position on the plate. But if you can only find flimsy spring weeds – give it a try.
  3. Be aware that they can cut into the plate or shed seeds. Usually it is easy to clean up with water and a rag.
  4. Dried leaves are usually too brittle, but thin dried grasses are usually great.
  5. You can preserve strong green botanicals with 1 part glycerin to 2 parts water. How to here.
  6. You can store strong grasses and ferns for many months. I use, phone books, file folders and cookie sheet trays.

Delicate grasses make great stencils

Hopefully, you will now look at some weeds and grasses with a new eye for potential art making materials. I always find new treasures whether I am in the woods or on the city street.

make prints with botanicals

Check out the current workshops and explore gelatin printmaking with found stencils and more.

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