First impressions - Cover Story - Brief Article

Arts & Activities, Nov, 2001 by Geri Greenman

A few years ago, the Terra Museum in Chicago hosted an exhibition of monotypes and prints by American artists. The show was an eye-opener. The resulting book beautifully illustrated the unique quality and spontaneity of monotypes.

Most of these (usually) one-of-a-kind prints, are done with oil-based inks and run through a printing press. They are unique not just for their "oneness," but also for the almost drawn-into quality, unlike so many other printmaking techniques.

Why create a monotype? There is a spontaneity, a wonderful painterly quality that bridges several techniques and makes them unlike other mediums. This way, if a student enjoys a particular area of study from the "smorgasbord" of choices within the art foundation courses our school offers, then he or she can take the next course and get into the technique or medium in more depth.

We have one exception: printmaking. We no longer offer a printmaking course with a variety of printmaking types, but we still have a unit within our introductory course. I feel it's our responsibility to teach our students about printmaking, and the many techniques within, because sometime in their life they may--if not become artists themselves--be consumers of art and need to understand about the process of fine art prints.

I stipulate the "fine art" print because I want my students to understand the difference between off-set printing, and one of many processes done by a fine artist and master printer. The signature must be signed after the print has been pulled rather than signed, then mass-produced.

Many students believe that posters are valuable. Some are because they herald the Beatles or some such event that has historical or reminiscent value, therefore, a personal value, not to be confused with prints created by artists. What we all wouldn't give for an original Toulouse-Lautrec "Moulin Rouge" poster. This, of course, is an example of quite an exception! I just wanted them to realize that a poster "of" a picture has little or no value, except for the aesthetic appeal it has for the person buying it.

I wanted my students to be aware of the unwritten integrity of the concept of "limited edition." This is where, after a certain number, the print--signed, titled and specified with an appropriate edition fraction or "artist proof' designation--is then purchased in an ethical transaction between artist and collector.

Once the different styles of printmaking are discussed, and examples of their individual looks are explained, I do a unit in a particular technique.

This year I went a little overboard, in that we did stamping, monotypes and intaglio (drypoint).

I like printmaking and, for the above reasons, want students to experience a few of the techniques. I decided to do a quickie "monotype" print and see if the kids liked the idea of pulling a print. In all three of the types we worked on, this was the fastest and easiest to do. In all three techniques we used, the image was reversed. (I also showed them that the serigraph, or silkscreen, was the only style that does not reverse the image.)

We did an easy and exciting monotype. Using Vis-a-Vis[R] (overhead projector markers), we drew our face on a 12" x 12" mirror, then with damp paper, we pulled a print. We discovered that closing one eye while drawing helped to accomplish a pretty close likeness of the student. I encouraged them to add detail and background--like the ceiling, cabinets and other students--for interest. I used white sulfite drawing paper, but if I had it to do over again, I'd use better paper.

The monoprints are delightful "first and only" impressions of ourselves: loose, with a few "soft" edges. This exercise served to break the ice in learning about printmaking and gave the students an understanding of reversed images. It was fun, fast and we worked on the buddy system. On the first day, while one student "drew" on the mirror, a buddy prepared the paper: dampening it, placing it between blotters and then gently placing it lightly on the mirror, gently patting. They traded jobs the next day and voila ... we created art! Once the prints were dry, students had the option of embellishing them with colored pencils and/or watercolor.

We also discussed how many master artists--Cassatt, Whistler, Prendergast, Chase, Sargent, Degas and on and on--had used monotypes in conjunction with their paintings. This art experience was a great way to get into the printing mode--with first impressions.

Geri Greenman is Head of the Art Department at Willowbrook High School in Villa Park, Ill., and is a Contributing Editor for Arts & Activities.