Monotype: Watering the Lawn in 1958

This is a monotype print, based on an old photograph of me from 1958 (I haven't changed a bit). Basically, a monotype is a unique print made from an inked glass or metal plate. This particular image is about 6" x 9", but I left really wide borders to fit a large frame if desired, and a mat.

I signed it in pencil on the lower right, and put the title and edition information in pencil on the lower left. And the square image is debossed into the paper about 1/8" dowm. I've always liked that look and never knew how it was made (which is from the plate passing through the press).

Here's how I made this monotype:

Using a scraper, file, then fine sandpaper, I beveled the edges of a zinc plate (see the photo below) so that the plate edges will not damage the blankets on the etching press. Then I rolled black etching ink onto the surface of the plate using a rubber brayer, trying to get a thin and even coat of ink.

Using cotton swabs, tightly rolled-up pieces of low-lint paper towels, a pencil (not for the graphite but for the line), and paper stumps, I removed ink to form the picture. My goal was to create this image using lights, darks, and midtones. And remember, if you have words in your image or want the image facing a particular direction, be sure to draw it backwards or your letters will print backwards.

When I finished, I wiped the bevels clean and placed the zinc plate on the etching press press bed, ink side up. (If you don't have an etching press (what?? you mean you don't?) you might ask to use one at the local community college. Or you can try what I'm dying to try: put a sheet of plywood over it and run over it with the car. I'm sorta kidding but not really...!)

To prepare the paper to print, I took a sheet of a 100% cotton printmaking paper and soaked it in a tub of water for 45 minutes or so, then placed it between blotting papers. Once it's no longer shiny, it's dry enough to print on. I gingerly placed the paper on the plate, face down against the ink, and ran the press, which applied about 1700 pounds of pressure per square inch as it rolled over my paper. Then I peeled the paper off the plate (officially that's called "pulling the print"), and placed it in the drying racks. But you can just put it somewhere nice and flat to dry for a couple of days. Ta da! That's it.

Pull a ghost: If there's enough ink left on the plate, you can make another print, which would be called the ghost print. These are especially good for coloring. I was able to pull a ghost on this print, which is why there are two prints in my edition rather than one.

Want to see some examples of colored monotypes? A friend of mine successfully sells her beautiful monotypes and other art on eBay. You'll see that she watercolors a lot of hers.


Although monotypes are still a pretty obscure form of art, they're becoming more popular as printmaking's popularity increases. Just look around the decor of a Starbucks store and its brochures; you'll see the old woodcut look, the etching look, etc. (probably done by computer). There are plenty of books on monotypes and printmaking. Just browse Amazon or Barnes & Noble, or your library, and you'll find more than enough reference material. And have fun -- this kind of art is a blast!