How I make monotypes:

Each image is created on a clear perspex ‘plate’ with oil based inks and sometimes oil paint.   An important part of my approach is the mixing of inks which will take me over an hour or more.   It is then applied using brushes, rollers, rags - sometimes I use stencils, themselves applied with colour or acting as a mask.  The ink is then drawn into, making  use of the clear line or mark which will either be white or leave the underneath colour if being printed over for a second or third time.  It is then printed using a Hunter Penrose Etching Press.

A first print is taken and then often a second print made, producing a similar ghost image. These I especially prize and will add further marks and colour by adding to the plate and running through the press a second and sometimes third time.  Sometimes I will add extra lines in ink afterwards.  Occasionally  I have also added details like boats in conte.

All prints are made with high quality oil-based relief inks and printed on acid-free watercolour paper, usually 200gsm and 300gsm weight.The characteristic of this method is that no two ‘prints’ are alike and each is in fact a unique printed painting and another way to best describe my monoprints would be 'works on paper'.  However these images do rely on the mechanics and sometimes random effects of working with plate and press in reverse, which is why they are genuinely considered to be prints.   They are known as 'monotypes' because each is a unique image.

A 'monoprint' is similar but has a repeat motif or a matrix which makes a part of the image repeatable.

I have begun to number my monotypes as 'E.V.' This is a standard printing term standing for 'edition variable' which is the proper way to explain that that a set of prints come from working with a plate in a series. So now you will find my prints will be 1 of 5 E.V. up to 5 of 5 E.V.

Work in progress at
the Badger Press print studio

---