A graduate of Bath Spa School of Art specialising in Photography, Film and Costume my printwork may seem somewhat detached from my studies but I have always used illustration, design and printing to bring concepts to life.
After graduating I found I no longer had the time or funds to create the larger scale film productions I had worked on previously and decided to step back and take a closer look at the design process.
I found that the part I most enjoyed was not to final product but filling sketchbooks with the fledgling concepts and characters.
After a few forays into illustration and design I finally found the technique that piqued my interest.
It was a skill I had picked up during my Foundation Degree at Exeter College and had nearly forgotten about.
The process was monoprinting.
Also known as the most painterly method among the printmaking techniques , a monoprint is essentially a printed painting. The characteristic of this method is that no two prints are alike; although images can be similar, editioning is not possible.
When I was studying we called it Monoprinting but the technique I utilize in my work is technically Monotype
Historically, the terms Monotype and Monoprint were often used interchangeably.More recently, however, they have come to refer to two different, though similar, types of printmaking. Both involve the transfer of ink from a plate to the paper, canvas, or other surface that will ultimately hold the work of art. In the case of monotypes, the plate is a featureless plate. It contains no features that will impart any definition to successive prints. The most common feature would be the etched or engraved line on a metal plate.
In the absence of any permanent features on the surface of the plate, all articulation of imagery is dependent on one unique inking, resulting in one unique print.
Additionally, the term monotype is often used for an image made by inking a non-absorbent surface with a solid colour, laying over it a piece of paper and drawing onto the back of the paper. When the paper is pulled off the resulting print consists of the line surrounded by ink picked up from the inked plate. The result has a chance element, often random and irregular which gives the print a certain charm.
When producing Giclee prints choosing the right paper is paramount.
After many trials I have chosen the highest quality museum etching paper from Hahnemuhle. It is fade resistant, subtly textured and thick enough so that framing or mounting is not an imperative which gives you more freedom when it comes to displaying it in your home.
They also come in a protective plastic sleeve with an acid free cardboard backing plate to ensure safe transit
Each print will be signed and dated and will have an edition number. The edition number (eg 5/10) denotes the number of your print in the print run. The prints are made to order but will only be displayed online until the end of the print line. This means that each print ordered will be a limited edition and once they are sold out that line will not be reproduced unless it is altered.
Typically each piece will have a print run of 20.
If you wish to purchase an original select 'ORIGINAL FRAMED' in the prints drop down menu.
All originals are black block printing ink on plain paper varying from A4 to A3 and priced accordingly.
These are the master copies straight from the printing block before I scan and digitally colour them so they may not be identical to the digitised print.
They come framed by Bristols 'The Little Framing Company' in plain white wooden frames and mounting board.
If you wish to purchase them without a frame please contact me for prices.
See 'FRAMING' below for more details.
If you have any questions please use the Contact link below.
Lewes Austen Cooper