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PROCESS
My Monotypes are one of a kind works on paper. It is a technique developed in the Renaissance and used by 20th century artists like, Degas, Gauguin, and countless others. The 21st century has transformed the monotype into an exciting blend of varied materials and techniques. My own process starts first with transclucent Handschy Lithographic Inks which are rolled onto a plexiglass plate, with a brayer . After the plexiglass plate is rolled with ink, selected areas are wiped and drawn into the plate with a brush. The inks are conditioned with plate oil and magnesium carbonate so that they can be receptive to a brush. When the painting is completed, 300 lb. printing paper (Arches 88 or BFK Rives) is placed over the painted image and passed through a press. The pressure transfers the image to paper. It is an exciting process where the nature of materials are sometimes left to “chance”. I like that spirit of exploration and the thought-provoking images that are “pulled”. I work from my home which houses a large 2000 lb. French American Tool Etching Press. The size allows me to make images as large as 28” wide and 38” long. The monotype as a printing process, comes the closest to painting. It does not involve editions. Only one image can be made. I have experimented with the process from both a “purist” stance, (creating the image in one shot with one pass through the press with only the barest changes made) as well as “hybrid” monotypes that challenge the printmaking process questioning whether the final image is actually a painting and not a print at all. Lately, I have begun to combine monotype with chine colle techniques and painting. So I have at times abandoned my original purist stance in favor of developing the image and the idea as fully as possible. The monotype is still a “unique” image no matter the stance I take.
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METHODS |