Akua Intaglio Ink Akua Liquid Pigment Color Graphite Mars Black Oxide Green Payne s Gray Quinacridone Magenta Opaque White Metallic Silver Metallic Gold Raw Umber Pyrrolle Orange Burnt Umber Burnt Sienna Hansa Yellow Diarylide Yellow Ultramarine Blue Phthalo Blue Carbazole Violet Phthalo Green Yellow Ochre Red Oxide Van Dyke Brown Lamp Black Carbon Black Titanium White Crimson Red Scarlet Red Cat. No. RA20914 RA20915 RA20916 RA20917 RA20918 RA20919 RA20920 RA20921 RA20922 RA20923 RA20924 RA20925 RA20926 RA20927 RA20930 RA20931 RA20932 RA20933 RA20934 RA20935 RA20936 RA20937 RA20938 RA20939 RA20929 RA20928 Color Diarylide Yellow Scarlet Red Crimson Red Quinacridone Red Quinacridone Violet Ultramarine Blue Phthalo Blue Phthalo Blue Green Phthalo Green Yellow Phthalo Green Blue Yellow Ochre Burnt Sienna Red Oxide Burnt Umber Raw Umber Lamp Black Jet Black Titanium White Cat. No. RA20940 RA20941 RA20942 RA20943 RA20944 RA20945 RA20946 RA20982 RA20983 RA20947 RA20948 RA20950 RA20951 RA20953 RA20954 RA20955 RA20956 RA20957 Basic Monotype with Akua Inks RA20914-RA20928 RA20940-RA20957 55-0605 RA21715 RA20911 RA20913 94-0445 94-0480 Akua Intaglio Ink, 8-oz. jars (Cat. Nos. RA20914-RA20928) Akua Liquid Pigment, 4-oz. bottles (Cat. Nos. RA20940-RA20957) Akua Transparent Base Modifier, 8-oz. jar (Cat. No. RA20913) or 16-oz. jar (Cat. No. RA20912) Akua Printmaking Plate, 6" x 8" (Cat. No. RA21715) Akua PinPress (Cat. No. RZ15125) or Speedball Baren (Cat. No. 94-0445) Akua Release Agent, 8-oz. jar (Cat. No. RA20911) Speedball 4" Soft Rubber Brayer (Cat. No. 94-0480) Bienfang Bristol Paper - Smooth, 9" x 12". (55-0605) Mona Lisa Pink Soap, 12-oz. bottle (Cat. No. RA12507) or gallon jug (Cat. No. RA12508) Mixing Tray Cotton swabs Matte board pieces Paintbrush Palette knife Stencils 9909 S. Shore Dr., Suite 1015 Plymouth, MN 55441-5037 NP 146-13 NP146_13.indd 1-2 Printed in U.S.A. January 2014 RA12507 1-800-328-3360 Toll-Free Fax: 1-877-727-2380 etriarco.com The monotype process is known as one of the most spontaneous and improvisational forms of printmaking. The physicality of the artist manipulating the ink over the surface of the plate in a way that is not repeatable is unique to the process and is largely what sets it apart from all other methods of printmaking. Traditionally, printmaking served as a means of communication, as one was able to create multiples of an image or written message. Monotype leans toward the familiarity most have with painting, creating a connection between the disciplines. Students will Create a monotype/print that demonstrates effective use of transparent overlays and expressive, yet articulate mark making. Learn how to use basic printmaking tools and modifiers in conjunction with various mark making tools to create one-of-a-kind prints with Akua inks. 2 class periods
Ghost Printing Image Prep Laying release agent on palette Drawing the image Laying Akua printmaking plate on top of image Draw an image on paper with a marker. Students can draw freehand or trace. Lay your Akua printmaking plate on top of the outlined image. Ghost plate Transparent Layer One (Yellow) Rolling release agent over image in both directions Equal amounts of Hansa Yellow and Transparent Base Modifier on palette Rolling release agent over image in both directions Mixing ink and Transparent Base Modifier At this stage, you will notice you have leftover ink on your plate. This plate can be printed again with the use of Akua Release Agent. Roll out a small amount of Release Agent onto a clean palette using a 4" soft rubber brayer. Roll Release Agent over remaining ink residue on the plate. Plate can be printed now and will yield a lighter version of the same print. One could also opt to continue to work on the plate, removing and adding more ink before printing. Print with PinPress or baren and show ghost print. Printing and revealing Roll out ink onto the printmaking plate Rolling out ink on palette NP146_13.indd 3-4 Lay equal parts Akua Transparent Base Modifier and Akua Intaglio Hansa Yellow on the palette. Using a palette knife, mix the Hansa Yellow and Transparent Base Modifier together. Lay out the ink so it s flat on the palette. Roll out a thin, even layer of ink on the palette. Roll it onto the plate. Cleanup Akua Inks clean up with soap and water. Using Mona Lisa Pink Soap or liquid dish detergent is recommended.
Mark Making Printing with the Akua PinPress or Speedball Baren Drawing with cotton swab Drawing with paintbrush handle Making marks using matte board pieces Cotton Swab Draw through the ink to make marks and show how easily the ink is removed by the cotton swab. Paintbrush Use the handle (end without brush tip) to draw through the ink the same way as the cotton swab. The brush handle creates a sharper, more pencil-like line. Positioning plate in the template of the printing surface Matte Board Pieces Laying paper on top of plate Draw through the ink with various sized pieces of matte board to achieve a variety of line types and marks. Transparent Layer Two (Red) One part Scarlet Red and two parts Transparent Base Modifier on palette Printing with PinPress Place the inked plate on a level surface. Most wooden tables are uneven. 1 4" tempered plate glass is ideal. Alternatives include plastic sheets, foam core, or chip board. Place paper over the inked plate. Registration marks are helpful. See photo B. Roll over paper with the PinPress or baren top to bottom and diagonally. PinPress is recommended for perfection, as the baren may make uneven prints. Show print. Lifting print Mixing ink and Transparent Base Modifier Rolling out ink onto palette Revealing print Rolling out ink onto the printmaking plate Lay two parts Transparent Base Modifier and one part Akua Intaglio Scarlet Red on the palette. Using a palette knife, mix the Scarlet Red and the Transparent Base Modifier together. Lay out the ink so it s flat on the palette. Roll out a thin, even layer of ink on the palette. Roll it onto the plate. NP146_13.indd 5-6
Working with Stencils (Reductively) Laying stencil Wiping out some open areas of stencil with a lint-free rag Place stencil on top of inked plate. Use a lint-free rag or cotton swab to wipe out the open areas of the stencil. Transparent Layer Three (Blue) Lay Transparent Base Modifier and a very small amount of Akua Intaglio Phthalo Blue on the palette (e.g. nine parts Transparent Base Modifier and one part Phthalo Blue). Using a palette knife, mix the Phthalo Blue and the Transparent Base Modifier together. Lay out the ink so it s flat on the palette. Roll out a thin, even layer of ink on the palette. Roll it onto your plate. One part Phthalo Blue and nine parts Transparent Base Modifi er on palette Mixing ink and Transparent Base Modifi er Using Akua Liquid Pigment Brushing Akua Liquid Pigment onto the plate Adding Akua Liquid Pigment to the palette Akua Liquid Pigment Shake bottle of Akua Liquid Pigment and add a few drops to the palette. Brushwork Paint Jet Black Liquid Pigment onto the inked plate.
Continued Wiping out other open areas with a cotton swab Removing stencil Continued Rolling out ink on palette Rolling out ink onto the printmaking plate Continued Using needle applicator for fi ne lines Needle Applicator (optional for fine lines) Fill one third of the bellows bottle with Liquid Pigment. Attach plastic flexible tip. Draw a few lines on top of the inked plate. Blotting puddled ink with tissue paper Before Printing Check plate for puddles of ink. Blot puddles of ink with tissue.
Mark Making Printing with the Akua PinPress or Speedball Baren Drawing with cotton swab Drawing with paintbrush handle Making marks using matte board pieces Cotton Swab Draw through the ink to make marks and show how easily the ink is removed by the cotton swab. Paintbrush Use the handle (end without brush tip) to draw through the ink the same way as the cotton swab. The brush handle creates a sharper, more pencil-like line. Positioning plate in the template of the printing surface Matte Board Pieces Laying paper on top of plate Draw through the ink with various sized pieces of matte board to achieve a variety of line types and marks. Transparent Layer Two (Red) One part Scarlet Red and two parts Transparent Base Modifier on palette Printing with PinPress Place the inked plate on a level surface. Most wooden tables are uneven. 1 4" tempered plate glass is ideal. Alternatives include plastic sheets, foam core, or chip board. Place paper over the inked plate. Registration marks are helpful. See photo B. Roll over paper with the PinPress or baren top to bottom and diagonally. PinPress is recommended for perfection, as the baren may make uneven prints. Show print. Lifting print Mixing ink and Transparent Base Modifier Rolling out ink onto palette Revealing print Rolling out ink onto the printmaking plate Lay two parts Transparent Base Modifier and one part Akua Intaglio Scarlet Red on the palette. Using a palette knife, mix the Scarlet Red and the Transparent Base Modifier together. Lay out the ink so it s flat on the palette. Roll out a thin, even layer of ink on the palette. Roll it onto the plate. NP146_13.indd 5-6
Ghost Printing Image Prep Laying release agent on palette Drawing the image Laying Akua printmaking plate on top of image Draw an image on paper with a marker. Students can draw freehand or trace. Lay your Akua printmaking plate on top of the outlined image. Ghost plate Transparent Layer One (Yellow) Rolling release agent over image in both directions Equal amounts of Hansa Yellow and Transparent Base Modifier on palette Rolling release agent over image in both directions Mixing ink and Transparent Base Modifier At this stage, you will notice you have leftover ink on your plate. This plate can be printed again with the use of Akua Release Agent. Roll out a small amount of Release Agent onto a clean palette using a 4" soft rubber brayer. Roll Release Agent over remaining ink residue on the plate. Plate can be printed now and will yield a lighter version of the same print. One could also opt to continue to work on the plate, removing and adding more ink before printing. Print with PinPress or baren and show ghost print. Printing and revealing Roll out ink onto the printmaking plate Rolling out ink on palette NP146_13.indd 3-4 Lay equal parts Akua Transparent Base Modifier and Akua Intaglio Hansa Yellow on the palette. Using a palette knife, mix the Hansa Yellow and Transparent Base Modifier together. Lay out the ink so it s flat on the palette. Roll out a thin, even layer of ink on the palette. Roll it onto the plate. Cleanup Akua Inks clean up with soap and water. Using Mona Lisa Pink Soap or liquid dish detergent is recommended.
Akua Intaglio Ink Akua Liquid Pigment Color Graphite Mars Black Oxide Green Payne s Gray Quinacridone Magenta Opaque White Metallic Silver Metallic Gold Raw Umber Pyrrolle Orange Burnt Umber Burnt Sienna Hansa Yellow Diarylide Yellow Ultramarine Blue Phthalo Blue Carbazole Violet Phthalo Green Yellow Ochre Red Oxide Van Dyke Brown Lamp Black Carbon Black Titanium White Crimson Red Scarlet Red Cat. No. RA20914 RA20915 RA20916 RA20917 RA20918 RA20919 RA20920 RA20921 RA20922 RA20923 RA20924 RA20925 RA20926 RA20927 RA20930 RA20931 RA20932 RA20933 RA20934 RA20935 RA20936 RA20937 RA20938 RA20939 RA20929 RA20928 Color Diarylide Yellow Scarlet Red Crimson Red Quinacridone Red Quinacridone Violet Ultramarine Blue Phthalo Blue Phthalo Blue Green Phthalo Green Yellow Phthalo Green Blue Yellow Ochre Burnt Sienna Red Oxide Burnt Umber Raw Umber Lamp Black Jet Black Titanium White Cat. No. RA20940 RA20941 RA20942 RA20943 RA20944 RA20945 RA20946 RA20982 RA20983 RA20947 RA20948 RA20950 RA20951 RA20953 RA20954 RA20955 RA20956 RA20957 Basic Monotype with Akua Inks RA20914-RA20928 RA20940-RA20957 55-0605 RA21715 RA20911 RA20913 94-0445 94-0480 Akua Intaglio Ink, 8-oz. jars (Cat. Nos. RA20914-RA20928) Akua Liquid Pigment, 4-oz. bottles (Cat. Nos. RA20940-RA20957) Akua Transparent Base Modifier, 8-oz. jar (Cat. No. RA20913) or 16-oz. jar (Cat. No. RA20912) Akua Printmaking Plate, 6" x 8" (Cat. No. RA21715) Akua PinPress (Cat. No. RZ15125) or Speedball Baren (Cat. No. 94-0445) Akua Release Agent, 8-oz. jar (Cat. No. RA20911) Speedball 4" Soft Rubber Brayer (Cat. No. 94-0480) Bienfang Bristol Paper - Smooth, 9" x 12". (55-0605) Mona Lisa Pink Soap, 12-oz. bottle (Cat. No. RA12507) or gallon jug (Cat. No. RA12508) Mixing Tray Cotton swabs Matte board pieces Paintbrush Palette knife Stencils 9909 S. Shore Dr., Suite 1015 Plymouth, MN 55441-5037 NP 146-13 NP146_13.indd 1-2 Printed in U.S.A. February 2014 RA12507 1-800-328-3360 Toll-Free Fax: 1-877-727-2380 etriarco.com The monotype process is known as one of the most spontaneous and improvisational forms of printmaking. The physicality of the artist manipulating the ink over the surface of the plate in a way that is not repeatable is unique to the process and is largely what sets it apart from all other methods of printmaking. Traditionally, printmaking served as a means of communication, as one was able to create multiples of an image or written message. Monotype leans toward the familiarity most have with painting, creating a connection between the disciplines. Students will Create a monotype/print that demonstrates effective use of transparent overlays and expressive, yet articulate mark making. Learn how to use basic printmaking tools and modifiers in conjunction with various mark making tools to create one-of-a-kind prints with Akua inks. 2 class periods