Face-to-Face Monoprints
The Set Up
Gather plexiglass, perspex, or even a lightweight clear clipboard (anything see-through and light enough to hold without strain). Lay out trays of tempera paint, thick card stock, and brushes of different sizes. At Smudge we always encourage artists to mix their own palettes. A portrait feels more personal when the colours come from your own hand!
This invitation has everything (and more). Laughter, colour, and that heart-racing moment of surprise when the print is revealed. I first learnt it through Little Ginger Studio in Sydney and it has been a Smudge favourite ever since.
The Making
Work in pairs. One person holds the plexiglass in front of their face, the other paints directly onto it. Trace the curve of a cheek, follow the line of the hair, notice the space between the eyes. It is a slow, playful kind of looking that often sparks giggles, especially when eyebrows end up a little too high or noses far too long. The sitter becomes part of the artwork, watching through the glass as their features appear in strokes of colour.
When the painting feels ready, lay the plexiglass flat with the fresh paint facing upwards. Place the card on top, press firmly with your hands or roll across with a brayer, then peel it back. The reveal is always the such an exciting part! Gasps and laughter and the joy of seeing what transferred and what blurred into something unexpected. Wash the plexiglass and swap roles so everyone experiences both sides of the process.
Variations
Layer several prints onto the same sheet to build colour, texture, and overlapping portraits.
Swap brushes for sponges, fingertips, or cotton buds to make marks with different textures.
Paint a portrait of a favourite toy, a plant from the table, or even an imaginary character if you want a change from faces.
Materials
Plexiglass, perspex, or clear clipboards
Thick card stock or paper
Poster or tempera paint
Brushes in different sizes
Palettes for mixing
Water jars and cloths for cleaning
Brayer or roller (optional)