Class #10

Sometimes you do let the cat out of the bag!  Aileen has returned and we continued with printmaking for Class #10.  Before any work took place we prepared our space, arranging 5 stations at which we would do 4 different printmaking techniques and make a folio for our prints.  Set-up was much the same as last week's class with Mary, however this time each table was devoted to one technique.  One table each dedicated to printing:  a paper collagraph, "Paul Klee monoprint," corrugated cardboard print, and a large collaborative print using corrugated cardboard and small found materials.

Our paper collagraphs we made during this class in the end looked much like our collagraph plates from last class, however the process by which we made them was different.  We made our plates together as a group with Aileen giving us step by step directions.  We were not told exactly what the whole process was from the beginning, just one step at a time.  For example our first direction was to cut a large shape out of our piece of cardstock.  These cutting directions carried on until the directions were given to glue and assemble our pieces into an imagined creature.  I think this approach to making the collagraph plate would be good for a group of students who are good listeners, and not very chatty.  It would be difficult to lead this project in this manner if students were talking.  With the right group, this is an excellent method for keeping everyone together and at the same place in the project.

We followed step by step cutting directions for the corrugated cardboard as well, this time making not an imagined beast but an actual animal.  Lastly we prepared for our monoprint by making a pencil drawing of the head of a beast we find to be most terrifying.  After the pencil drawing we were ready to print.

Aileen demonstrated the different processes at each table station.  We reviewed proper technique for charging the brayer, inking our plates and pulling the print.  The technique that was completely new to us, was the monoprint.  For this print we used oil based ink, all of our other prints used water based.  The process began with a cardstock frame about an inch wide that was hinged to the top of a small piece of plexi-glass.  We rolled a very thin layer of ink on the plexi-glass, then placed the drawing of our beast head on top of the plexi and frame.  We traced over our drawings in pencil and then carefully pulled the paper away and hopefully saw the head of the beast.  My attempt at this type of print was not so successful.  I had too much ink on the plexi-glass and my beast was more of a blob.  I learned by "doing" that you only need a very thin coating of ink.

In searching for monoprint images I came across this artist, Geraint Evans.  Evans' monoprints could also fall into our exploration of Dystopian themes.  Evan's artwork is described as searching for the "sublime within catastrophe." (gezlifeandart.blogspot.com)

Geraint Evans

Geraint Evans

If you had enough space, the idea of printmaking stations would definitely be something to bring into the art classroom.  Student would have plenty of work and be able to practice more than one technique.  The only aspect of this method  I think you would have to watch is the mess.  I could imagine a classroom consumed with ink leading to messy prints and a major clean-up.  Aileen stopped us frequently during our printing in class to do a quick clean-up.  Cleaning-as-you-go is a must for multi-station printmaking with a group of any age.