DOI Heft:
No. 113 (August, 1902)
DOI Artikel:Ertz, Edward: Monotyping
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19876#0186
Monotyping
•and finger, brushes or rags, and bits of wood or
twisted paper for taking out the highlights, delicate
modelling with the ball of the finger giving the
most highly finished appearance to the modelling
of a face. The white paper on which the mono-
type is printed takes the place of white pigment,
and gradations are obtained by a greater or less
quantity of colour on the plate, absolute white
for high lights being obtained by taking all
paint off the plate with paper. The beginner
must be prepared to turn every accidental blot to
account, especially if he has no fixed idea what his
picture will be. He must be on the alert to take
advantage of too much or too little colour, or of
any spots, daubs, streaks, etc., which may occur.
In this way he may produce fascinating results and
surprises.
To print the design the paper must be
thoroughly damped before placing it carefully on
the plate, and then passed with a strong pressure
through the press. For this process any cylinder
press will do, and good results have even been
obtained with an ordinary mangle. But for careful,
serious work an etching press is the best.
Very amusing little essays may be made by care-
fully placing the prepared plate on to a piece of damp
paper, this paper having been previously laid on a
sheet of blotting-paper large enough to fold over
the plate at both ends after it has been pressed
down. This must then be carefully turned so as
not to move either plate or paper, and the blotting-
paper gently but firmly rubbed, with as much
pressure as possible, with either a paper-folder or
spoon. Of course monotypes "blotted" or rubbed
off in this way are never as even or delicate as
those run through a press, nor can the rubbing
process give any idea of the possibilities of mono-
typing, it being impossible to obtain by hand the
great and even pressure necessary to bring out the
exquisitely delicate tints which the press will
always show. The hand process will produce
amusing work, but the result will in every case
leave something to be desired, whereas with a
fairly-sized plate and an ordinary press, any one
with ability to draw can immediately produce
beautiful results. Japanese paper is the best kind
to use for monotyping. It is very sympathetic and
sensitive, reproducing every touch, from the
boldest modelling and strongest lines, to the most
delicate work. Holland, Michelet, or ordinary
white writing-paper can also be used; in fact, for
some subjects, a rough-grained surface has many
advantages.
It is impossible here to describe more in detail
the process of monotyping. The best way of
learning is for every one interested in it to make
■"interior at polperro"
174
from a monotype by edward ertz
•and finger, brushes or rags, and bits of wood or
twisted paper for taking out the highlights, delicate
modelling with the ball of the finger giving the
most highly finished appearance to the modelling
of a face. The white paper on which the mono-
type is printed takes the place of white pigment,
and gradations are obtained by a greater or less
quantity of colour on the plate, absolute white
for high lights being obtained by taking all
paint off the plate with paper. The beginner
must be prepared to turn every accidental blot to
account, especially if he has no fixed idea what his
picture will be. He must be on the alert to take
advantage of too much or too little colour, or of
any spots, daubs, streaks, etc., which may occur.
In this way he may produce fascinating results and
surprises.
To print the design the paper must be
thoroughly damped before placing it carefully on
the plate, and then passed with a strong pressure
through the press. For this process any cylinder
press will do, and good results have even been
obtained with an ordinary mangle. But for careful,
serious work an etching press is the best.
Very amusing little essays may be made by care-
fully placing the prepared plate on to a piece of damp
paper, this paper having been previously laid on a
sheet of blotting-paper large enough to fold over
the plate at both ends after it has been pressed
down. This must then be carefully turned so as
not to move either plate or paper, and the blotting-
paper gently but firmly rubbed, with as much
pressure as possible, with either a paper-folder or
spoon. Of course monotypes "blotted" or rubbed
off in this way are never as even or delicate as
those run through a press, nor can the rubbing
process give any idea of the possibilities of mono-
typing, it being impossible to obtain by hand the
great and even pressure necessary to bring out the
exquisitely delicate tints which the press will
always show. The hand process will produce
amusing work, but the result will in every case
leave something to be desired, whereas with a
fairly-sized plate and an ordinary press, any one
with ability to draw can immediately produce
beautiful results. Japanese paper is the best kind
to use for monotyping. It is very sympathetic and
sensitive, reproducing every touch, from the
boldest modelling and strongest lines, to the most
delicate work. Holland, Michelet, or ordinary
white writing-paper can also be used; in fact, for
some subjects, a rough-grained surface has many
advantages.
It is impossible here to describe more in detail
the process of monotyping. The best way of
learning is for every one interested in it to make
■"interior at polperro"
174
from a monotype by edward ertz