This being the first monotype, I focused on figuring out the visual effects that were possible with this technique. I decided that Speedball water soluable printmaking ink was the best choice. This ink has the ability to behave like ink wash because it’s able to thin itself out easily, yet at the same time it can be thick and dark like straight india ink. What got me excited about this approach is that I was able to create a wide range of effects that are similar to the ink wash. At the same time, when I push the ink and water across the surface of the plexiglass and allow the ink to dry, I’m able to create a wide range of delicate textures which are unachievable in ink.
One aspect of the monotype process that I very much appreciate is the distinct separation between the process and product. Unlike painting and drawing, printmaking allows for your work process to have a concrete moment of finish when the plate is run through the press. For me there are many advantages to this set up; when I work the plate I’m able to reserve judgment on the image because I know that the finished print will inevitably look extremely different from the plate, and the sense of finish when the print is pulled prevents me from overworking a piece.