Monotyping is a kind of printmaking created by drawing or painting on a smooth, non-absorbent surface area. The surface, or matrix, was historically a copper etching plate, yet in modern work it can range from zinc or glass up to acrylic glass.
The image will then be transferred onto a sheet of paper by pressing the two with each other, usually using a printing-press. Monotypes could likewise be made by inking the entire surface area and then, making use of brushes or cloths, removing ink in order to create a subtractive graphic, e.g. creating lights right from a field of opaque color. The inks used might be oil-based or water-based. With oil-based inks, the paper might be dry, whereby the graphic has more distinction, or the paper might be moist, whereby the graphic has a 10% greater range of shades.
Unlike monoprinting, monotyping creates a unique print, or monotype, since most of the ink is removed during the first pressing. Though subsequent reprintings are sometimes possible, they vary tremendously from the first print and are generally considered inferior. The second print from the original plate is called a "ghost print" or "cognate". Stencils, watercolor, solvents, brushes, and other tools are often utilized to embellish a monotype print. Monotypes are usually spontaneously executed and without preliminary sketch. Monotypes are the most painterly method among the many printmaking techniques, a unique print that is essentially a printed painting. The main feature of this medium can be found in its spontaneity and its mixture of printmaking, painting, and drawing media.
Monotype is actually a form of printmaking wherein the artisan draws or paints on some material, like glass, and then prints the graphic on paper, typically with a press. The remaining pigment can then be reworked, but the subsequent print would not be a precise version of the previous print. Monotypes may be unique prints or variations on a theme.
Monotype comes from the term mono which means "one" so these types of prints will be one off prints. Traditionally, they could be subtractive, the surface is entirely inked and ink is cleaned away and then printed, or additive, in which the picture is painted or applied straight to the surface area and then printed. Nonetheless, any print or mixture of print methods that makes only one print impression can come into this category.
The monotype technique was introduced by Giovanni Benedetto Castiglione, an Italian painter and etcher who was also the first artist to create brushed sketches intended as finished and final works of art instead of as studies for a different work. He is the sole Italian to have developed a printmaking method. He started to make monotypes in the 1640s, typically working from black to white, and made over twenty surviving ones, over half of which are set in the evening (Theseus finding the Arms of his Father, 1643).
William Blake created a unique method, painting on millboard in egg tempera to make both brand new works as well as colored impressions of his prints as well as book illustrations. Hardly any other artisans made use of the method right until Degas, who made a few, often working on them even more right after printing (Beside the Sea, 1876-7); Pissarro likewise made a few. Paul Gaugin used a different technique involving tracing, later adopted by Paul Klee. In the twentieth century the method became very popular.
Monotype printmaking is a method in printmaking and can be learned almost anywhere, in art schools or from printmaking artists. Once you learn the basics, you will discover there are many ways to make a really great print.
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