I’ve posted about the way I make monotypes before so I won’t go into too much detail here. I continue to find the process fascinating and thrilling – the way each layer can completely change the quality of the image. Its a risky business but when it works it is incredibly satisfying! Enjoy this short picture essay of the process involved in some recent prints.
This was the drawing I made on the Bass Rock of a nesting Herring Gull. I thought it would translate well into a monotype:
Rolling different coloured inks onto a clear perspex plate and then wiping way to recreate the basic shapes and colours of the design. I’ve adapted the drawing to give a sense of the Bass Rock context by incorporating a view through to the mainland with the distinctive shape of North Berwick Law in the background:
Not much needed doing to get it to this stage – if you look closely you can see some further definition to the face and shadows of the bird and a lightening up of the sea and sky to knock it back:And here is another version of the same subject. Often when I make monotypes I do two versions – you can use ghost layers as a starting point for another print. In this print the grey is much softer and the definitions of the face are slightly altered:
And another print made during the same session. I liked this sketch made of a swimming cormorant on Tanera Mor and remembered the way its body was half-submerged under the clear waters around the island. I thought it would translate well into a monotype: