Monoprinting

Our approach to monoprinting utilizes any combination of the following principles:

- Multiple color swap-outs for most layers on each print, making each unique but utilizing the same layers and print order

- Omission of layers and introduction of new layers for each print

- Independent placement/registration for elements/objects to create new compositions

- Adding ink to un-printed screens or re-working freshly printed areas with brushes and/or new ink/paint

- Additional printing techniques that create unique impressions, such as misting paper with water, layering transparent colors through the same screen, off-registration of layered screens, etc.

Monoprinting Example 1: Sam Friedman’s Beach Monoprints

While working on our first edition with Sam Friedman, we noticed how easily the layers in the print could be modified to produce a series of unique monoprints. This was pitched to Louis Buhl of Detroit and since then we’ve done 5+ different monoprint sessions with the artist. Each time, our studio is rented out for 2 week, allowing for a direct 1-on-1 collaboration with the artist while also encouraging organic experimentation of his imagery. This allows for the artist to have direct knowledge to our wide-range of techniques, while we get to expand our understanding of the artist’s studio habits and decision-making process.

Sam’s monoprints were comprised of complex layering of simple individual elements, with either a single color flat or a multi-color split fountain (seamless color gradations). We started with 6-8 different basic compositions: all sky, all water, small sun with half water, large sun with half water, etc., and by changing the individual elements, color etc. each print became a unique monoprint. Each print is signed and marked 1/1, as no two prints are alike.

Sam Friedman Beach Monoprint Example 1: Half Sun, Half Water Composition

In the first print below, the white in the border is the white of the paper, whereas in the 2nd we printed a yellow to goldenrod split-fountain flat before printing the border layer (also multi-color split-fountains). While both prints are the same composition, the first print received more additional layers (foreground reeds) than the second.

Sam Friedman Beach Monoprint Example 2: Full Sun, No Water Composition

Aside for the noticeable difference in saturated content, the same initial reed layer is used in both images below. Both color and placement have changed. Both reed layers also utilize multi-color split-fountain layers.

Sam Friedman Beach Monoprint Example 3: Full Sun, Half Water Composition

In this comparison below, the compositions and colors are very similar but still yield unique differences. Note that the same shape (cloud) is used in front of the sun, but the one on the left is a split fountain and then one of the right is a solid green. The same reed layer (baby blue shape) is used but placement and saturation of additional reeds further helps to create two unique prints.

Monoprinting Example 2: Hebru Brantley’s That Flower N-Word Monoprints

Hebru Brantley wanted to use the layers of a regular edition print to create additional monoprints. Since the layer order was dictated by the regular edition, we utilized color swaps in multiple layers and additional non-repeatable print techniques to create additional variations.

During this project, Hebru was in our studio and while we printed the regular edition, he would select colors from our ink wall to use in the monoprints. After printing the regular prints, we’d clean the screen and run the selected colors. In some cases, we’d mist the screen with water and then print, which created a splotchy effect, showing whatever color (if any) that had previously printed in that area.