MASKED MONOPRINTS & WAXY TRANSFERS

TWO BRIGHT IDEAS TO TRY! 

MASKING with flat paper cut-outs enhances this

first technique, monoprinting. I usually roll

water-based printing ink onto a sheet of
Plexiglas and draw or scrape designs directly
on that surface. I used rubber tips and many
other scraping tools to make lines, shapes,
and patterns.

TIP: Work quickly so the ink doesn't get too

dry.

 Then add the paper masking shapes, which                            

you could prepare ahead of time if you know

what your theme or motif is.

 

Lay the paper shapes on top of the still-wet

ink, wherever more white is to be preserved.

Place the sheet of printing paper onto the

inked, designed surface. Press all over the

back with the flat of your hand. Peel the

I used oil pastels on this monoprint.

print off, let dry.

While the black-and-white
prints have graphic appeal,

they’re even more delightful
when partly colored. Use
dry media when the print is

thoroughly dry: colored

pencils or pastels (oil or chalk).

However, if you printed with oil-based ink or acrylics,
the print is not water-soluble and you can colorize

with inks or watercolors!



This page spread appears in the November issue of Arts & Activities
Magazine, which any visual arts educator should have!

IMAGE TRANSFER with waxed paper is exciting. 

Computer images that are graphic and black &            

white work best on the waxed paper.                                 

 

The final print will be reversed.

First, the computer image must be no larger

than 8.5” x 11.”  Cut both smooth watercolor

paper and waxed paper to that size, too.

Then dampen the watercolor paper with

water and wipe it off, because too much

water will make the print blur terribly.

Set that aside but don't let dry too much.

 

To prevent wrinkles or jamming the printer,

scotch tape the waxed paper smoothly to a                                                

sheet of printer paper at the top. 

Image transfer on waxed paper.

Or use repositional adhesive spray at the top end.
Either side of the waxed paper works.

Feed the sandwich into the printer and print.

 

TIP: Definitely use an inkjet printer.

Don’t be alarmed by the “faint” print you get

on the waxed paper…it’s supposed to look like

that! Gently lay it ink-side down onto the pre-

dampened watercolor paper. Holding the

waxed paper firmly down so it doesn’t move,

press all over with your hand. Then carefully

Watercolors on sealed print.

lift the waxed paper. It will still have ink,

so be careful not to drag it.

These prints are water soluble,

so colorize with dry media only.

Or spray the print with

clear acrylic when dry,

let that dry too,

then add watercolors or inks.

 

Both techniques are easy and fun to do,

so I hope you enjoy them.

 

 

 

 

 

 

 

 

 

 

 



THIS TRANSFER TECHNIQUE IS SOOOO EASY!

Make a painting that's also a monoprint.

It's fun, and the results are really cool.

MATERIALS:

• Paintbrushes
• Acrylic paint
• Clear acetate sheet, glossy
• Polymer medium or soft gel
• Receiving surface (paper or canvas)
  
  

  

  Even a plastic page protector will do!

   

FIRST, paint the acetate as desired. You can roller some paint onto it, brush the paint on, stamp designs onto it, whatever you like! You can even scratch some of the paint off if you want. Permanent markers can be used, too.




I used a brayer to apply paint to the plastic, too!





Even the permanent marker will transfer later!


Here I began creating a simple, non-objective design as a background on the plastic sheet.
NOTE: whatever you paint will be reversed later, so names, words, or most numbers would be backwards in the finished piece.
THEN let the acrylic paint dry.

NEXT, brush clear acrylic medium or gel onto the receiving surface. (I used heavy paper.) Before it can dry, lay the acetate, painted side down, onto the wet surface. Smooth it down thoroughly. Let dry overnight.




I used matte medium, but the acetate imparted a nice high-shine gloss to the finished painting!

GENTLY peel the acetate off and you'll be delighted that the paint design has now transferred to the surface.
 Be aware that, as with most types of transfers, bits of the original design may not re-locate. You may wish to repeat the process with new elements and layer them onto the previous, dry design, as I did in the completed work below.




This finished non-objective painting was done with two layers (using the acetate transfer method twice).

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