MONTYPE PROJECT:

Goals of Monotype Project:

Inspiration for Project:

"In the spring of 1973 he
(Nathan Oliveira) hit on the idea of borrowing a subject from
Goya, La Tauromaquia 21, for development in an extensive series of transformations... In the space of two months, Oliveira conjured from his zinc plate nearly a hundred monotypes that progressively decomposed the powerful drama of Goya's print into its visual elements... His Taouromaquia series forms a close succession of analytical interpretations that leads far in the direction of abstraction without ever losing contact with Goya's basic image."
(Lorenz Eitner, Stanford University, July 1979)

Choose a Time Period and Artist from the ARTIST LIST

Research and POST ON BLOG: (GROUPS will meet at King Library on Thursday)
Groups will be formed to research a common time period. Students will visit KING LIBRARY in groups. (Search for the artists you liked and note the call # and location of the artist's catalogue in the library.) Be sure to have a current library card. Each student will check out a * catalog on a chosen artist from that time period and become familiar with his/her work. I will set up a blog for each Time Period. Students will post information regarding their artist on the appropriate blog - in the comment section. Information in the comment section will count as Reading #5 and must include the following:

    1. Name of Artist
    2. Title of catalog
    3. Title of chosen painting
    4. Date of painting
    5. Short statement on why you chose this painting.

Homework assignment: Due 11/3 (note: make your best attempt at this part of the assignment - at a minimum trace the painting on bristol board and bring that Tuesday)

Make a simple line drawing of your chosen composition on bristol board using a sharpie (can be traced). Mark this drawing with lines in different colors (or using pencil) to represent the following:

  1. BALANCE: Identify FULCRUM with a vertical line. What kind of balance is in the picture?
  2. MOVEMENT: How do you get into the painting and how do you get out? (draw arrows of movement)
  3. Draw lines for principle structure: horizontal, vertical, circular, triangular...
  4. Identify the general COLOR SCHEME of your chosen painting.

IN CLASS MONOTYPE PROJECT - Materials:  (must have ALL materials in class)

  1. Color photocopy of the chosen painting (approximately 8x10" - full sheet of paper - can be normal print quality but MUST BE OF ENTIRE COMPOSITION.) Write the ARTIST, TITLE, YEAR, and current location (if available) on back.
  2. Watercolor paints (black & white)
  3. Clear Plexiglass (same size - or larger than your Photocopy) *get this at Tap Plastics or Home Depot. Anywon unable to get this must contact me the previous week.
  4. 1 sheet Rives BFK print paper (some students may need 2 sheets)
  5. brushes, water container, rags

MONOTYPES: (All work for this project is done in class. You must be present throughout the process for full credit!)

MONOTYPE #1:  Paint a copy of your chosen painting on the plexiglass using watercolor (I will bring color paints in addition to your black and white). The composition can be painted using the grid method or free-hand. It does not have to be realistic but it MUST BE ACCURATE TO THE COMPOSITIONAL STRUCTURE OF THE ORIGINAL. Soak and blot print paper then lay it on the watercolor image and burnish the back using the spoon. Lift paper. You will now have a monotype print of the original painting - but the image will be reversed.

MONOTYPE #2: Wash and dray the plexiglass. Repeat the above process, this time using your print as source material. Copy the image on the print as you see it, again being ACCURATE TO THE COMPOSITIONAL STRUCTURE OF THE PRINT. Soak and blot print paper then lay it on the watercolor image and burnish the back using the spoon. Lift paper. You will now have a print which corresponds to the orientation of the original painting (double reverse).

MONOTYPE #3 - #4:  This time DO NOT WASH the plexiglass. Instead, as Oliveira did, use the "ghost" image leftover on the plexiglass to make your next monoprint. Try to simplify the image (ECONOMY), abstracting it further. Concentrate on the composition's BALANCE, EMPHASIS, RHYTHM etc. All of your prints should contain the essence of the COMPOSITION in the original painting (even while being abstract).

MONOTYPE #4: If necessary for abstracting, make a fourth print from the leftover ghost of #3.

CRITIQUE:
Turn monotypes #2 and #3 (or 4).  For critique - students will present monotype #3 (or 4) along with the original print side-by-side. Groups will present work in the context of their group's time period/movement. Each student within a group should be ready to contribute something about his/her artist and/or historic circumstances of this work. Groups should confer outside of class on this (exchange e-mails).

CRITERIA AND GRADING:

TERMS: