Monoprinting is called the most painterly of all the print making techniques. The appeal of monoprinting is
the unique translucency that creates a quality of light very different from painting directly on paper.
It's a spontaneous combination of printmaking, painting, and drawing mediums. Each print is unique.
A monoprint is a result of pressing on image that has been created on a flat surface (like a Plexiglas or
metal plate) into the fibers of the dampened paper. Ink or paint is applied to the plate. The paper is placed
on top of the plate and run through the press with pressure. The paper is then lifted up and voila!
An image can be created using multiple layers of objects, leaves, lace, or made flat forms to act as a
resist or additive. You can print many times over with additions, or print the (ghost) which is the remaining
image on the plate. Variations are a rich part of the process.
A monotype is the same as above but uses no objects as resists that are repeatable. A clean unetched plate
is used with no reproducible parts.
A collagraph (also spelled collograph) is a low relief printing plate created by the artist made from
layers of cardboard or other textured materials glued to a flat surface. The surface is inked or painted
and then wiped down to the desired amount of remaining ink or paint. Dampened paper is place on top and
then run through the press.
Dry Point Etching
A dry point etching is made from a flat plate (like plexiglass) that has an image drawn into it with
an etching pen. The plate is inked with a brayer or brush, the ink is then worked down into the lines
and wiped away with a tarlatan or other absorbent medium. A final surface rub can be done to remove any
unwanted surface ink. This method of removal is called intaglio. I often add inks back onto the plate
surface before printing. You then place dampened paper on top of the plate and run it through the press.
You peel the paper off the plate for the result.