Monotypes

Monotypes are one-of-a-kind prints. Ours are created by painting ink onto Plexiglas or metal plates, or by using paper stencils, rolling on inks, removing ink ("reduction" monotypes), or using phototransfers and other multimedia techniques. Once the plate is prepared, it is run through our Whelan Press to transfer the imagery to paper. We use lithographic ink and 100% rag paper for maximum permanency.

Since there is nothing permanent on the plate--no engraved lines or etching, for example--once it has gone through the press, most of the ink has been removed. It is possible to reconstruct or renew the image with additional ink and create another, similar print. This print would be a "ghost" or "cognate," but it will always be significantly different from the parent print.

In order to achieve highly saturated colors, we usually soak the paper before printing. After an extended blocking and drying process, the print is ready for additional printing or other finishing treatments, such as oil glazing or collaging. Or if we're really lucky, it's perfect on the first pass!

Oil Glazing

Glazes are transparent layers of color that artists use to make subtle color changes while the underlying imagery remains visible. It is a historic technique, and as the old masters understood, with multiple layers of glaze, the colors become infinitely subtle and beautiful. Salvador Dali considered glazing one of the three secrets of great painting. The glaze we prefer is Liquin mixed with oil paint.

China Marker Drawings

For these Karl uses China markers, which are sometimes called grease pencils. They have very hard lead, and they come in several colors--black works best for the pieces Karl is showing here. Small chunks of lead are used to execute the drawing. He holds the chunk under his thumb and makes lines in a way that is very similar to what the early Surrealists termed automatic writing, using very limited thinking and a lot of unconscious motion. All the drawings are made on white paper and then they are heavily glazed.

Photo Transfer

There are numerous methods of transferring photographs. For our monotypes, we are able to transfer magazine and other photos by inking a plate with black ink, applying the photo, and running it through the press. The result is that the image shows up on the plate and may then be incorporated into other imagery for the final print. The ink on the original photo is also activated. It will make a mirror image, which can be used on the same or another print.

Water Soluble Crayons

Drawings may be made on a plate with Caran d' Ache aquarelles. The resulting imagery readily transfers to dampened paper when the plate is run through the press. Among Karl's most popular work using this technique are stylized representations of glamour girls wearing sunglasses.

Sumi-e Ink Transfers

Stiff Bristol board stencils are made and then coated with sumi-e ink. The stencils are then placed on American Masters paper and transferred by vigorous hand burnishing. The same stencil may be used repeatedly, yet each time completely different, unexpected details appear in the printed image. This technique is particularly effective for "pattern" pieces in which the same figure is duplicated a number of times. These pieces are also usually glazed.

Original Art

In this era, it is important for art collectors to understand there is a significant difference between an original work of art and a reproduction of the same work. Currently, many artists sell giclees, limited edition prints, lithographs and other mechanically reproduced images of their artwork. Those pieces are not original works of art. They are copies of work the artist has previously created. Creating reproductions provides an artist with a convenient method of selling popular images over and over again.