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Gourmet Monotype

Gourmet Monotype class


In November, I gave a monotype workshop at Atelier Circulaire.  The very nature of this versatile and direct printmaking medium sets the stage for playful, expressive energy.  From day one, this was the case in my group of eight enthusiastic women.




The workshop took place over four full Saturdays. In between my demonstrations, participants had ample time to explore and experiment.  We devoted our first class to the basics of traditional black and white monotype.  The voluptuous beauty of black never fails to seduce, no matter how anxious students are to dip into color.




On day two we plunged into the joy of color.  In the morning I showed how to mix colors on and off the plate and how to create a palette of colors.  After lunch, I showed how to build up and layer monotypes with multiple plates.  On this day we  had the pleasure of being assisted by Celia Vara, visiting from Spain.




It is impossible to write a blog about this particular workshop without elaborating on our elaborate lunches.  Since it is hard to find open restaurants in the the neighborhood on Saturdays, my students organized a potluck lunch on day two. Each dish was prepared with TLC and the delectable sensations they created in our palates prompted us to repeat the potluck experience every week. The healthy, mostly vegetarian dishes and the absence of alcohol, went a long way to energizing us for a full afternoon of creative work.



Denise Faucher. Monotype with chine collé of digital print.



Carole Latulipe. Monotype with chine collé of digital print.


Experimental took on a whole new meaning on day three as we dived into the world of chine collé or print collage.  With this technique, artists can combine monotype with elements of other works on paper such as drawings, paintings, digital prints, photocopies or other printed matter.  Each week I raised the bar a bit, providing new challenges to work through.  I strive to expose students to a vast array of possibilities in order to provide the tools for further independent exploration when the workshop is over.  Each participant brought paper elements to class and the diversity of approaches created a learning experience for all, including myself.



Renée Gelinas. Monotype and collage with Akua ink.


Our last class was particularly effervescent.  Up to this point we worked with oil based printing inks.  I started this day with a demonstration of Akua, water based printing inks.  These non-toxic, slow drying inks have a very different feel to them than their oil based counterparts.  I wanted students to know that these inks exist and provide a very viable alternative.  Students had the choice to work with them or to pursue anything else that we had covered up to that point. One student totally fell in love with the handling and look of Akua ink.  Another student  created marvelous effects by layering gold Akua over black oil based ink, while another student created unique textures by spraying water over an Akua roll up.




We ended our workshop on a high note with a class exhibition.  Not only are these women fabulous cooks, they are prolific artists!  After cleaning up and putting prints between blotters and boards to dry, we indulged in admiring everyone’s work, this time with a glass of wine in one hand and a piece of chocolate pear pie in the other.



Left to right: Carol Latulipe, Monique Duplantie, Marie-Claude Mirandette, France Houle, Manon Gauthier Denise Faucher, Carmelle Pilon, Renée Gelinas, Talleen Hacikyan.


Everyone agreed they would miss my class, in no small part for the potlucks, which is good luck for me because many of these women have signed up for my next class at Atelier Circulaire, collagraphy in February and March.  My tummy can hardly wait!


Photos by Talleen Hacikyan

First group photo by Deborah Wood

Second group photo by Mathieu Matthew Conway

Merci à toutes les artistes pour avoir participé à mon stage!


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