Make a Monoprint Using Acetate, Pen, and Ink | Lisa Ormiston | Skillshare

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Make a Monoprint Using Acetate, Pen, and Ink

teacher avatar Lisa Ormiston, Artist, Bibliophile

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (21m)
    • 1. Intro

    • 2. Tools and Materials

    • 3. Picking a Source Image

    • 4. Preparing to Print

    • 5. Inking and Printing

    • 6. Adding Color

    • 7. Alternate Coloring Style

    • 8. Conclusion

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About This Class

Make a Monoprint Using Acetate, Pen, and Ink is a class for anyone (beginner or not) who wishes to learn a fun and easy technique that embraces the unpredictable and celebrates the perfectly imperfect.

In this 20-minute class, you will learn the step-by-step process of creating a one-of-a-kind image via monoprinting on acetate. I will then demonstrate how to add color to your print using watercolors.

This simple process is a hybrid of drawing and printing that produces images chock-full of expressive inky goodness. By the end of this class, you will have all you need to produce your own unique image, as well as a new technique to add to your creative toolbox.

Meet Your Teacher

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Lisa Ormiston

Artist, Bibliophile


Hello, I'm Lisa.

I have worked as a commercial artist for roughly the past two decades - mostly as an exhibit fabricator for natural history museums.

I really, really like learning and tend to collect skills like some people collect Pez dispensers or Precious Moments figurines. Making shoes and millinery flowers are amongst my favorite hobbies. Lately I have been concentrating on 2-D art and have become obsessed with pattern design. 

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1. Intro: this'll class follows the start to finish process of making Amman a print, using acid Tate pen and ink and then coloring it with water colors. Hi, my name is Lisa R. Missed an I'm an artist living and working in a town north of San Francisco, California Recently, a friend of mine asked me why I'm on a print. Why not just draw directly on the paper with pen and ink? So there are basically two reasons I sometimes choose mono printing rather than drawing. First off, I find it a bit more relaxing than drawing second lead. The results I get from mono printing are quite different from those I get when I draw directly on paper. Monta prints often contain surprises, which I get a total kick out of little nuances and lying quality that wouldn't have appeared had I just drawn directly on paper and in Squatch is that I definitely wouldn't have drawn, but really, in the end, they add interest in life to the overall image for your class project. I would like you to make Amman a print. I'm excited to share this fund technique with you, and I look forward to seeing what you come up with, so be sure to upload it into the project gallery and let's get started 2. Tools and Materials: 3. Picking a Source Image: you're a few things to keep in mind when picking a source image for your print first to something that you like and that you find interesting. Second, if you're going to use your print for something other than personal use, observe copyright laws and make sure your source image is original to you, like a photo that you took or drawing that you made. Lastly, keep it simple picking image that would look good as a contour drawing. That said, you can also pick a crummy snapshot like this one I took of my cat. I toast this photo because I liked her pose, and I think she's looking pretty cute. The photo itself is nothing special. I doubt anyone would really be thrilled to look at a picture of contact solution or all the other business that's going on in the background. So when I think my ass etait I just left all of that out and ended up with a simple contour image. Then I made another print and colored it. The succulent photo is pretty straightforward. The black and white print, however, lacked interest but ended up coming to life with a little bit of color This is a quick and dirty collage I made in photo shop, not anywhere near perfect or in any way spectacular. But I think it made a pretty nice little print, which I colored two different ways. I picked this photo to use in the class demonstration because I really liked the Magnolia bloom. I'll do some editing as I think I'll probably leave out the bloom on the left and some of the branches. I'm definitely not going to deal with the fence or the plants in the background. If tracing a photo doesn't interest, you feel free to use a drawing, or you can also get really bold and draw directly onto the acid Tate. 4. Preparing to Print: uh, begin by taping down all four corners of your source image. Then take a sheet of acid Tate that is large enough to completely cover your source average and take down all four corners. If you're acid, Tate wants to curl. Press down and smooth it out as you take. Then take your sheet of paper and place it over your image tape along the top edge so that the tape makes a hinge and you can flip your paper up and down. 5. Inking and Printing: and now the printing process is ready to begin. So take your pen and get up. You don't want to completely cover your name in ink. Get the ink to just the bottom of event, which is the rectangular part right there. Trace on Lee the parts of your source image that you want to show up in your final print. I like to use a piece of scrap paper to test out how my ink is flowing before I move on to the acid Tate. So now flip your paper up and start tracing your image. You won't be able to ink and print the whole thing in one go as the ink dries pretty quickly, so trace little bits at a time about 10 to 20 seconds worth. Then flip your paper down and press and rub over the area that you just inked. Flip your paper backup and Inc. Another section of your image. Repeat this process until you have inked and printed everything you want in your final print. If you feel like you're lines are too thick or you're getting too many watches, you may be over inking your pan or pressing down too hard as you trace. If the opposite is true, if your lines are too narrow or not printing at all, you may not have enough ink on your pan, or you may be trying to think too much of your image at one time. So try thinking smaller sections and printing more often. If a line doesn't print, you can go back over with ink and print it again right here. I think something that I didn't mean to. So I'll just go ahead and wipe it off with rubbing alcohol. And then I'll continue my printing process when wiping away lines from your ass etait that you don't want. Don't worry about wiping away some of the lines that you have already printed. It won't make a difference in the final print. - Okay , - now that the inking and printing process is finished, it's time to remove the tape from your print and then clean off your pen nib and acetate with alcohol and a rag 6. Adding Color: The lines of this print are pretty loose and expressive, and I want the color to complement the lines, not compete with, um, so I'm going to keep my color loose as well. I also want the color to help define the shapes and the image, so I want to control the color at least a little bit. I am going to be painting what on wet, but it's going to be a sort of controlled wet on wet, and I'm only going to be painting certain parts of the print at one time. As you can see, I have opted to start with the branches, and I am applying water to them, just prepping them for a little bit of color for the branches. I'm going to start out with Payne's gray to mix a brown color, and then I'm going Teoh, add a little bit of yellow and makes that and a little bit of red. And that should make a pretty good warmish brown. And then I'll just drop that into branches, and right away it looks like I blogged on too much color, so I will dab away the excess with some paper towel and then continue on now that the branches air finished, I'm going to add color to the buds using the same process. Paint the shapes with water, drop color in and then move it around until I'm satisfied with the way it looks. - I think the branches could use a bit more color, so I'll mix up a warmer brown. Re what? The areas that I think need more color and then go ahead and drop in that warmer brown. - I'm pretty happy with the way this looks, so I think that about does it for color. If you would rather be a bit more experimental with your color application or use a different mediums such as pastel, for example, I say Go for it. Make your print truly your own and put your own stamp on it. Embrace what makes your art your art. 7. Alternate Coloring Style: I've made another print from the same source image, and now I'm going to color it in a looser, more abstract style. The more straightforward and easy to read your images with just the black and white lines, the more crazy and abstract you can get with your color. You can try spot coloring. Pick one or two spots on your print color, or you can cover the whole paper with random color. Just follow your gut and have fun experimenting for my print. I want the color to be abstract, but I don't want the image to be completely hard to read. Once color is applied, I'll keep the application of color fairly controlled. But the color itself won't be at all literal. At this point, my color looks pretty balanced, so rather than run the risk of overworking it, I'm going to call this done 8. Conclusion: in wrapping up. I would like you to know that I genuinely appreciate you spending her time to take this class. I hope you will find mono printing on acid Tate to be a useful and fun addition to your artistic toolbox. If you have any questions, feel free to post them in the community section and I will do my best to get back to you. I would really love to see what you make. So be sure to post your prints in the Project gallery. Thank you so much for taking this class and happy printing.