Creative Printmaking 1 with Anita

Includes Lifetime Access, Online Community, 7 Video Lessons & More!

7 Lessons – $72.25 $85

Once again Anita has come up with a great class that makes monotype printmaking accessible to anyone. She combines her clear instruction with her wonderful aesthetic in a technique-filled, fun class.

Now available as self-study.

TEACHER: Anita Lehmann

Class Description

Printmaking is so fun, easy and accessible. We will roll, wipe, scribe, dab + fingerpaint + design  in seven creative lessons… and all by HAND (no printing press required!).

One simply draws on a plate, then sandwich a damp paper to make a single impression + ‘voila’ :a monotype:

In this class we will:

• Experiment with the printmaking process of monotype in black + white and color
• Work with color and value to evoke mood
• Discover new shapes + lovely, creative mark making.
• Find texture to create depth of surface, space and perhaps mystery
• Launch your imagination: creating prints with surprising + unique qualities

So, get ready to print. Even if you are beginner to this process or if you have printed before, these 7 sessions are a grand ‘launching pad’ for your art practice. Now, set the table. Let’s go.


P.S Scholarships are available. Click HERE.


Lesson 0: Setting the Table: Supplies + Set Up
Get comfortable, ‘set the table’, pull together your items. Ready, Set Go!

Lesson 1: Getting Started: Subtractive process + Ghost Prints
We will be preparing the plate with a dark field of ink and begin to subtract out shapes + values. Once we find an initial image to our liking, we will begin the first print, hand rubbing. A lovely print will appear and then using the same plate, we will print a ‘ghost’ print of the same image. Another surprise, your image is in reverse.

Lesson 2: An Additive Process + Trace Monotype
Our plate preparation, unlike Lesson 1, will be mark-making but in an Additive process. Stay creative with your mark-making. The brayer, loaded with ink will produce lovely, spontaneous marks; twist, turn and even use the edge. Trace monotype , an additive process, will give you unique lines: thick and thin, inventive edges and lovely textures. Again, another lovely print will appear.

Lesson 3: Draw Downs + Printing in Layers
An introduction in achieving values in Monotype will be presented with the addition of a ‘transparent’ base to the ink, giving the printmaker a full range of values. Utilizing these new inks of various values, we will initially create a ‘draw down’: a plan to begin printing in layers from lighter to darker, achieving value + shape and space definition all in one study.  From the ‘draw down’, comes the execution. Let’s try this process on a larger plate. So much to discover. Yes?

Lesson 4: Sampler in Landscape Design: Techniques with the Design Elements
Design with capital ‘D’: Value/Shape, Line/Edges, Texture and Space. Printmaking involves good design. To achieve this, I work with my ‘tool belt’ of Design Elements: line, edge, shape, value, texture, space and (color). I design in an abstract mode and obtain a ‘mostly’ in the process. 

Lesson 5: A Color Wheel: Hue, Value + Intensity
COLOR! Finding color with these luscious inks is such a worthwhile pursuit. Hue, Value and Intensity can all be discovered, and you can create such lovely variety. Color Theory can be a good guide in the process especially with the Akua Inks creating subtle layers of color. The color wheel is a great start in obtaining a simple palette with numerous possibilities. Applying a ‘mostly’ to a landscape of many greens can be achieved. Let’s see yours.

Lesson 6: Printing Color with Layers, opaque/transparent inks + stencils too.
New inks, opaque and transparent, and in combination will be demonstrated in this lesson. The richness of a print, in multiple layers is the goal. Let’s start with the transparent layer initially and then add darker color/values and a bit of opaque layers too.  The stencil process is introduced, a wonderful vehicle for placing lovely positive/negative shapes. Again, another lovely print?

Lesson 7: Finishing Touches: mark making, additional layers + letting it be.
How do you know when the artwork/print is complete?  I ask, am I finished: Is this print one I could add to with color, additional layers, a few subtle marks or simply letting it be. I will demonstrate going back in with pastels and additional printmaking. I think of a work as complete when it evokes a feeling. If I go further with a work, I ask myself, ‘what if’?   Slow down + enjoy + be brave. You can do no wrong. Photograph as you go.

Join us!





This is Anita’s preferred setup, but you can benefit from the class without these exact items. Please email Anita directly at [email protected] if you have any questions about supplies!

Get these Supplies (links are supplied fyi):

1 soft 4” brayer
1 package Akua plates 6”x 8″: 3/pack
• 1 glass mix palette (this or this)
• 2oz inks in Black, Red, Blue, Yellow: AKUA Inks
• 1 jar Transparent Base: AKUA Inks
• 1 White etching ink: Charbonnel Aqua wash etching ink: Snow White Tinanium (tube)
• 1 putty knife
• Baby wipes
Evolon paper (15 sheets in pack) (Recommended, but you can also use printmaking paper of your choice… here and here are options.)
• Spray bottle for water for paper spritzing
• Medium/Large Metal Spoon +/or medium/large wooden spoon
• Newsprint +/or newspaper for blotting, stenciling
• Sketchbook for ideas/notes
• Artist’s Masking Tape or Post-It Tape
• Bath towel, not too much texture
• Combs and Sticks, various mark making tools
• Soft pastels, charcoal

Optional Materials

• A few small plastic palette knives or plastic knives
• Cheese cloth or soft wiping fabric
• Q-tips, brushes of any kind, plastic or soft marking tools
• Gloves
• Extra plexiglass or glass to organize your workspace for inks, rollout, etc.
• Graph paper for underside of printing plate for registration
• Framing L’s


Anita Lehmann is a registered architect in the state of Washington. She is also a teacher and an artist. After receiving training at the University of Washington, she taught freehand drawing in Rome and in Seattle, and currently offers small group classes in drawing and painting. Her other skills include architectural design, graphic design, community planning and design illustration. Using figures as disparate as bugs and urban monuments, Anita has designed several series of alphabets, which have been acquired by the Smithsonian Institution. Prior to receiving the 2013 NAIUSI fellowship, Anita was a graduate student at the University of Washington Rome Center, in Rome, Italy in 1985. See more of her work at

Nuts & Bolts

– Private Facebook and Padlet groups will be available for you to (optionally) share your work and receive comments from the instructor and fellow students.

– You will have forever access to this class.