5.0 Monotype: Getting to Know my Materials


Before my printing inks arrived I had tried to use acrylics. It is possible to pull prints from them but they make strong patterns instead of evenly coloured areas. These can be fun of course, but not what I am after. One turned out interesting though:

Acrylic print pulled from a dirty plate

I have no idea how I achieved the stripes, it only happened once. It looks like tree trunks in a forest, leaving it to the viewer to decide which are the trees. I also like the residue from earlier prints, yellow and red. Acrylics seem to stay layered when rolled so that colours applied first turn up on top mottling the main colour. Oil based printing inks do not do this.

Oil based printing inks (Etching and Relief ink)

To begin with I used different tools to see what marks I could make in an inked plate, printed on newspaper paper. The marks looked fine on the plate but did not print very well – not enough paint. The paint was much thicker than I had expected.

Marks 1
Marks in etching ink

Mark making at random is not so easy, I wanted a subject to work on. Second print with more paint and a picture using marks from above:

Marks 2

For my third print I tried a landscape with mountains and used damp paper. I had learned that this enhances the transfer of ink onto the paper. I probably made it too damp as the print became very soft and details as well as nuances in tone disappeared.

Berg 1
Etching ink on damp newsprint

At this point the “Mono” in monotype sank in: there is no using that picture again. A new print wants a new plate. I was not really pleased with the etching ink (although it was said that it lends itself well to reductive monotyping techniques). So I changed to relief ink which is a bit softer. I soon found out that it is harder to remove, it smudges more easily than the etching ink (not wanting to come off), but the prints become more saturated:

Berg 2
“Night fall in the mountains”, raw umbra relief ink on drawing paper

I like this one very much. The mountains look very mountainy and the inked areas have the beautiful texture I connect with prints. I like that some of the roller marks show at the edges.

When drawing this I found out a lot of things about the mark making, what tools work for what effect, what not to do and what to do. I decided to try and turn one of my earlier drawings into a print. All my favorite sketchbooks are with my tutor at the moment so I chose the mortar and pestle from the part about tone. I know this subject well and could concentrate on achieving the marks I wanted.

Mörser monotype
Relief ink on drawing paper, reductive monotype

I am pleased with this, too, although the shading is not quite right. It felt a bit wasteful removing all that ink in the background and half way through I regretted it. The picture would have been more dramatic in a dark setting with strong highlights. Too late. But I have a photo of the printing plate (a mirror) earlier in the process:

inking plate

In order to quickly draw the shape of the mortar on the plate I made a traced print first as this leaves a faint mark on the plate. That print is quite nice, too. I was careful not to touch the paper with my hand as I wanted to keep as much ink on the plate as possible. Still the paper picked up quite a lot from just lying there.

Mörser traced monotype
Traced monotype, relief ink over an acrylic print, drawing paper

I like the halo effect around the lines, it is all dotty.

The second time I tried this the transfer was much stronger and blotchier. Maybe I had used more ink? Or the yellow ink is softer? Also the traced lines are the colour of the paper rather than printed. Strange.

Hand traced monotype
Yello relief ink on black paper, traced monotype

From this plate I made a reductive monoprint where my marks make darks, not lights, as the ink is a lighter colour than the paper.

Hand monotype
Reductive monoprint, relief ink

Not a very good drawing but the printing part of it is nice. However, the black paper makes the yellow greenish and reduces its brightness. I think it would be better to use the yellow on white paper in combination with black or umbra.

From this I pulled a ghost, after re-inking the plate. I had noticed in an earlier experiment that did not lead to anything, that the difference in hight between single and dubbely inked parts of the plate can show on the print. Worth a try. It produced a very faint image of the hand. It could be used as background to a drawing or for an other print on top of it. Testing it on my son it became clear that the hand is not recognisable without having seen the other print first, though. So to use this technique the shape has to be simple or abstract.

Hand reinked ghost
Ghost from the re-inked plate after the print above

With the rest of what I had on the roller plate I inked a last plate with a hasty drawing. The ink was not enough so the print is pale and there were bits of dust or similar somewhere that made white blotches. But I like the combination of two different colours for the same print.

Rosebush. Relief ink on drawing paper


I had a really good time playing around with this. I learned a lot of things and have started to see what techniques can be used to achieve certain effects. I have also learned that monotype is more difficult than it first looks. But I think, from my research and my own experience from today, that it is a wonderful way of drawing with endless possibilities. I have only scratched at the surface.

4.3 Experiments with writing

As I looked through my work from early in this course I came across letters as a means of mark making and decided to try it out with the feet. 

I had also been thinking about the relationship I have to my feet, what they mean to me and how to bring that across in a drawing. It is much more undefined and harder to express as with the hands. Especially as I can’t draw my feet running or walking. 

I decided to put some of my ideas in a text an draw with that. However, I did not want the words to destract from the drawing so I wrote in German cursive. The text is memories from my barefoot days as a child. Where I grew up the rural kids (and farmers) walked barefoot from spring to autumn, in all weathers.

I started by making blue footprints, then sketched the outlines of my feet and legs. 

“Bodenhaftung”*, ink pen and watercolour

I like the effect of the writing and how the feet seem to stand on it. I also like the footprints in blue. The picture has a subdued quality in colour and line that I think goes well with the idea of memories. 

But The squiggly writing makes the drawing chaotic, too much going on.

In version 2 I tried to make it calmer. But I think I overdid it making the drawing too stiff. 

Also the left foot does not seem to be mine.

Version 3 is the opposite of v 2, leaving the background blank and using the writing to model the feet only.

I like how the direction of the writing gives volume to the feet, adding a dimension more to the painted shadows. 

All in all I think I like my drawn drawings better than these although I like the idea here. I have also strayed from the exercise and negative spaces so I’ll leave it at that and send in my assignment.

*Bodenhaftung, (German) means traction and figuratively grip on reality

4.3 Feet – Exercise 1

  • Draw your feet beginning with the negative spaces between them and between the toes
  • Work out from that

To begin with I did the same sort of sketches of my feet as I had done of my hands. I did concentrate on the negative spaces as the exercise states, but worked quite freely otherwise. This was about getting to know my feet, find their shapes and lines. I found this more difficult than the hands. One reason for that is that I don’t think I ever studied feet before. But they are also different from the hands in that they have less separate and small shapes to build them up, less definite features to guide me. There are the toes at one end, but then there is the whole of the foot as one block, so to speak. It is difficult to find this shape.

It was also less easy to find interesting positions and still be able to see them when I had my sketchbook on my knees. Seeing the underside to draw needs a mirror.

All drawings on A3 cartridge paper:

I then asked myself how I could portray feet in the “act” of being feet – something like the tools for the hands. It must be their relationship to the ground. Here is one idea, digging my toes into the soil:

striking root
Conté, oil pastels and watercolour splashes

I am not very happy with any of these. It shows that I am less comfortable drawing feet than hands. This needs more work.

4.3 Hands

I love hands. They are beautiful and very adaptable, able to follow the curve of an object, to make themselves small or large, changing angles in almost all directions. It is equally fascinating to watch them do ordinary things, like toying with a ball, or intricate well learned movements connected with a craft.

So drawing hands to me is wonderful. I like to observe them closely and work out how the positions work. Today, I just drew and enjoyed. Both the subject and the drawing without restrictions. I chose my A3 sketchbook to give myself room to be bold and draw gesturally, working around the shapes until I got a believable hand. It was wonderful! The drawings are larger than life.

I started drawing one hand on its own – first the left one, then the right one. Drawing with my left – weaker – hand worked quite well. I am not very precise with it and hatching does not work at all.  So the mark making is wilder than it would have been had I been able to steer the hand properly, which is a good thing.

Hand 4Hand 2Hand 3

Then I drew my hands holding things, which is when it really got interesting.

Hand 1Hand 5Hand 6

4.0 Negative Spaces

Part 4 begins with an introduction to negative spaces which contains a student drawing of a pot plant. The student only filled in a dark background where it was visible, all else, i.e. the pot plant, is left white. The drawing intrigued me and I set out to try the technique myself.

It was fascinating. Negative spaces are not a new concept to me but I have never before made them the main feature in a picture. Drawing all those dark spaces was an exercise in patience. It gave me a lot of time to think about what I was doing. I realised how much information the background holds. And also how much of a drawing is interpretation, how much the brain fills in. Which is a very interesting observation with regard to what I need to draw for a viewer to see what there is. It turns out it is actually very little.

The first drawing is of a gap in the “canopy” of a potted tamarind tree. I had not thought about the composition, I only wanted to see if it was doable. It was. Around the edge of the gap some of the compound leaves show enough leaflets to allow the viewer to understand how they’re built. This makes it possible for the brain to interpret the dark triangles where the “canopy” is denser. I had not expected this.

Tamarind, B9 graphite pencil on A4 cartridge paper

For a finished drawing I would need to choose a composition with better edges, I feel.

I did that for my second drawing. I chose my angle carefully and decided to let the plant hang out of the background a little. I like the effect of that. The shapes of the negative spaces are different, still some triangles but also longer and broader shapes. I think this picture has quite a good balance.

Chlorophytum, 7B graphite on A4 cartridge paper

I began to observe the shapes of the negative spaces around me and wanted to draw a lot of them. In the end I only managed one more – an oak. Without the leaves it shows its limbs with all their twists, surrounded by a halo of twigs. This last one was done pressed for time and it shows. I did not plan the composition very well and I caught myself drawing the limbs instead of the negative spaces. The execution of the two earlier ones is better, too. Still, I like the ghostly effect and I think the character of the oak comes out well.

Oak, 7B graphite on A4 cartridge paper

Doing these drawings has opened my eyes for negative spaces. I see them everywhere now and it felt natural to switch my eyes between positive and negative shapes when drawing the still life for the next exercise.

100 People, Finishing off

I must admit, I needed Saturday morning to get to the full 100 (101 in fact) but it was worth it. I had a bit of a bad day on Friday but was back on track on Saturday. These new ones are on A4 paper.

I also tried defining the gesture drawings more with a fineliner and adding shadows. I think in some I overdid the shadows – it would have been better to only make the really dark parts dark and leave the softer shades to watercolour. Back home I also coloured them with watercolours. I am pleased with the outcome. I intend to keep this up and improve on my technique.


Some of the better ones from earlier days also got the colour treatment:

My favorite. The lines are simple but in the right place so that his pose comes out really nicely. And the legs seem right


1oo People Challenge, Day 5

After my discoveries during this challenge the 5th day felt rather shallow. I could not get into that loose and free mode I have come to love and the drawings feel rather stiff. I could not seem to find any fun poses either, apart from the young man sunbathing with his pipe. I guess there are good days and bad days for drawing, too. Maybe I need a new place to got to where I can find new situations to capture.

In the group of three men I like the one on the left, especially his legs. I struggle with legs.


With the 100th drawing in view I decided to visit the ibex instead. Their horns curve majestically and grow at an angle to each other which makes interesting shapes and perspectives. I also intended to capture the strength and power of their bodies. However, they were not cooperative. They shed their winter fur and it being a warm, sunny day they basked in the sun scratching their backs with their horns. It must itch awfully – they moved all the time. Good exercise for moving subjects… One of the youngsters climbed for a bit.



With the challenge done I see that I am hooked. I will definitely continue to draw people and situations to grow my collection and my skill!


100 People Challenge, Days 3 + 4

In the evening of day 2 I did a bit of research about drawing people in motion: an instructional leaflet from Citizen Sketcher and a video on youtube. Both stressed the importance of drawing freely and not being bogged down by detail. In the video I saw how the artist moved over the drawing without stopping almost. He also says to find the direction or the rhythm of a movement and to incorporate that into the drawing, maybe even exagerate it. Citizen Sketcher breaks down a drawing into four main steps: First the gesture – very loose and fast to capture the pose, then the line drawing – in ink to define the drawing more, then the darks – find the shadows and fill them in to give the drawing contrast and life, and last to add colour.

In my drawings from day 3 and 4 I concentrated on the first step only. I moved around and stopped when I found something that caught my interest. In the group below it was the woman’s hands just for a short moment. In the woman with the children I liked how the children moved in different directions and how they all held hands.

I found that drawing fast and loose was very liberating. I got more open to subjects and poses I knew would only be visible for a couple of seconds. Some of them resulted in interesting drawings.


I like working men, their poses are varied and different from people on the street.

After a while I sat down at a bus stop from where I had a good view of a stretch along the station where people walked past me for quite a while and at a bit of a distance so that I had time to observe how they move. For some of these drawings I spent most of the time looking and then drew from memory. I tried to get the gist of the movement into the drawing.

Slow and calm
Girl hurrying to catch her train
Laborious walking, exagerated
Heavy bag


I very much enjoy this challenge. It is fun to really look at people, to see how varied we all are and to capture moments in my sketchbook.

The next step would be to make line drawings out of the gesture drawings but I feel apprehensive. Drawing in this way requires a good understanding of human anatomy to make it work. I also feel that I need to get more comfortable drawing faces. I often like my gesture drawings until I try and put in eyes and a nose… The gesture drawings work because the brain fills in a lot of information and is forgiving if something is not right. In a line drawing it would be less so I fear.


100 People Challenge, Days 1 + 2

At the end of Day 2 I have learned:

  • Drawing people is so much fun! And it makes me see my fellow humans in a different way. For one it makes me take notice of all the different people, situations, poses…
  • I need to be more careful with proportions, especially in the beginning of a session
  • Learning what lines to draw and which to omit is important.
  • I must try to remember different marks also when drawing quickly.

Almost all pictures are partly drawn from life and then finished from memory when people moved, walked away or someone/something suddenly blocked my view.

Here a selection of the better ones:

Day 1

I was at the carneval and travelled by train, changing trains in two major stations. Lots to see and draw!

My favorite is the man with the drum on his back and his mask in one hand. At the carneval, there were many like him, some on a bike. He spoke to a friend so I had a chance. Apart from the portrait all are very quick sketches in water soluable graphite. I added the water later, when I had time. The portrait has a nice volume, but is not like the original at all.

Day 2

This was much harder. The station was small, I felt observed and the positions were much the same. Also I was very tired after the carneval.

In the distance there was a group of railway officials looking at the tracks in the cold. It was really fun to draw them and trying to show the cold. Sometimes they would squat down or bend down – unusual positions. I would have loved to spend more time with them and to go a bit closer.



From the Travel Sketchbook

In the OCA student group for this course someone has mentioned a drawing challenge: to draw 100 people in a week. I am tempted. But before committing I wanted to see how much that is – 20 a day – and if I would be up to it. This in mind I used a very long train ride to test it – on the train, on the platform and around the stations where I changed trains. All of the following are A5


Very short sketch, through the train window while stopping


I like the short sketch best, the faces are ok. But with the more complex poses I feel I have forgotten a lot of things I have learned these past months. In almost all the lighting was deplorable for drawing, very hard to distinguish tone.

All of these people were quite still. I think for the challenge it might be difficult to find 20 holding still, unless I draw in a café or similar. I wondered how I cope with people in motion. So I tried that, too:


Waste paper collecting day

Quite a different kettle of fish! There certainly is room for improvement – and what better occasion to practice than accepting the challenge! Start on Monday. I wonder if there are certain techniques or ways of thinking to draw subjects in motion.

Until then, there are plenty of other motives here. And luckily mountains don’t move about much.

Alpstein, Eastern Switzerland. Watersoluble graphite and water. 2xA5
Stacked horizons, water soluble graphite, water brush on cartridge paper
Scatterd settlement,  Kt. Appenzell, Switzerland. Watersoluble graphite