Linda Foster, Artist

Inking the acrylic plate.

The acrylic plate completely covered in ink.

Inspiration: twisted, knotted cloth

Drawing directly into the wet ink surface.

A finished print that shows the simple, fine lines that were drawn into the wet ink.

After the drawing is complete, the plate is moved to the bed of the press.

I laid the plate on the floor to gain enough height to pull the print.

Three prints drying on newsprint which absorbs the moisture.

To make monotypes, I use a subtractive process that essentially removes the wet ink from the plate. I like the immediate response of the tools and materials, and the moment-by-moment engagement as the work develops.

As with any process, there are numerous variables and nuances that one learns from doing something over and over. What follows is a general outline of the steps I use to make a monotype.

The Process

I use a 1/8" or 1/4" acrylic plate that is several inches larger than the paper, and bevel the edges slightly so they don’t cut into the paper. On the back of the plate, I make a masking tape guide the size of the paper. The masking tape provides a general boundary when I am drawing in the ink.
I ink the acrylic plate using a brayer. I invested in a 12" Takach hand brayer, and it has saved a lot of frustration. Portland black ink works well for me, and stays open — or workable, for a good amount of time.
Next I draw in the wet ink, and manipulate it with tools and my hands. I always wear gloves.
Some of my favorite tools are fine steel wool, the point of a wooden skewer, Q-tips, tools used for clay, erasers, and scraps of cloth that can be rolled into a fine point. I’ve found that laying the inked acrylic plate on a light table allows me to see the progress of the drawing as I remove the ink. As an alternative to a light table, I sometimes hold the plate up to a window.
When the drawing is finished, the plate is placed on the bed of the press, inked side up.
Depending on the kind of paper I’m using, it is either soaked or dampened beforehand. This allows the paper to more effectively receive the ink.
Fabriano Rosaspina is my favorite paper, and only requires a quick dip in water. Then I blot it on towels to remove the excess moisture.
The paper is laid carefully over the wet ink then covered with a sheet or two of newsprint.
The newsprint protects the blankets from ink accidents.
The sandwich that includes the plate, paper, newsprint, and blankets is then run through the press. The pressure of the press transfers the ink and image onto the paper.
“Pulling the print” is the process of gently pulling the paper up and away from the inked plate.
There are many techniques for drying prints, but my method is to lay the print on newsprint which absorbs moisture, and helps the print dry flat. It usually takes several changes of newsprint to remove the water.

Photos taken during a self-directed summer residency, Westmont College, Montecito, CA.