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A series of monoprints reflect variations on a theme, the “theme” being an image that has been permanently incorporated onto the chosen matrix. By applying different pigments, adding distinct elements such as chine collé or hand coloring, the artist makes each print unique, save for the underlying image that is the shared constant. https://images.squarespace-cdn.com/content/v1/52e781f9e4b024866c16dae6/1393130796064-YWF1SX3Y367FIIZO8USN/whiteonblue_web.jpg f.a.q. - monotype As the most simple print process, all it requires is applying ink directly to a smooth matrix with no marks or scratches, such as a plate of plexiglass, and printing directly from that. The ink can be applied with a brush, or wiped, or daubed, or however the artist chooses. When the image is complete, a substrate such as paper is applied to the inked surface, and they are run through a press to transfer the ink to the paper permanently. This creates a unique work on paper. https://images.squarespace-cdn.com/content/v1/52e781f9e4b024866c16dae6/1414356449932-EUW0AQCWZYAMBTLZNW7W/hostileforces_web.jpg f.a.q. - relief Ever used a rubber stamp? Yes? Then you’ve made a relief print! The concept is simple: a flat matrix (such as wood, rubber, or linoleum) is carved by the artist. The surface that was not carved away is what’s left in relief. That surface is inked, and pressed against a receiving material like paper or fabric. The resulting image is a relief print. https://images.squarespace-cdn.com/content/v1/52e781f9e4b024866c16dae6/1595458753001-EXIAAX27AUYKXSY2376O/Virgin_and_child_with_cat.jpg f.a.q. - intaglio The term “intaglio” covers six different plate-based print processes: engraving, etching, drypoint, aquatint, mezzotint, and photogravure. While each process requires a different method of application, the principle is the same. Lines are incised into the surface of a metal plate (typically copper or zinc); ink is rubbed into the lines and cleaned from the rest of the surface; damp paper is placed over the inked plate; pressure is applied, transferring the ink held in the lines to the paper. Multiple intaglio processes can be used on the same plate for added complexity. Image: Rembrandt, The Virgin and Child with a Cat, 1654. Original copper etching plate and print. https://images.squarespace-cdn.com/content/v1/52e781f9e4b024866c16dae6/1593976564110-EXJERJ71DH7030LSN2BC/image-asset.jpeg f.a.q. - lithograph Also known as offset printing, lithography is predicated on the scientific rule that water and oil repel each other. The artist draws or paints on the smooth surface of a specially cut slab of limestone with an oil-based mark maker, such as an oil crayon or tusche. An acid is then applied to the surface to etch the stone. The surface level of the stone does not change; rather, the acid “locks in” the properties of the stone’s surface at that state. What was drawn on with oil-based substances will be permanently hydrophobic, and what was open stone will remain hydrophilic. Water is sponged across the stone, and ink rolled over the surface. The open hydrophilic spaces have a slight bead of water on top, whereas the drawing (hydrophobic) does not. This beading prevents the rolling ink from sticking to the open stone, and only the drawing will receive the ink. After a few rounds of inking, paper is placed over the stone and together they are run through a press with 1000+ lbs of pressure to transfer the image. https://images.squarespace-cdn.com/content/v1/52e781f9e4b024866c16dae6/1594958623008-DB8ZBEB2O8C4563LHSCX/leaves-on-water.gif f.a.q. - reduction woodcut This process layers colors in the same relief print, using the same matrix, with carving continuing to reduce the amount of surface left in relief between each color layer. Important considerations are ink opacity, registration (to make sure each layer of ink lines up perfectly with the layers already printed before it), and edition size (once you carve the second layer you cannot ever print more of the first). https://images.squarespace-cdn.com/content/v1/52e781f9e4b024866c16dae6/1594961791714-16O4HFW0S4458SX8FECC/Screen+Shot+2020-07-17+at+12.56.14+AM.png f.a.q. - serigraph Commonly known as screenprinting, this is a stencil printing technique that utilizes a mesh screen stretched across a frame. The screen is pre-treated to have an image block out parts of the mesh, creating a stencil. Using a squeegee, the artist pushes ink through the mesh in the non-image area of the screen, transferring the ink to the substrate (paper, fabric such as t-shirts) beneath it. https://images.squarespace-cdn.com/content/v1/52e781f9e4b024866c16dae6/1594961629907-K5DCH510LNX1V3TFL5IC/riso-machine.jpg f.a.q. - Risograph Riso can be described as the lovechild of a photocopier and a silkscreen—it combines the stencil-printing capabilities of serigraphy with the convenience and output volume of a photocopier. The artist uploads an image/graphic to the machine, which creates a thermographic master screen. The master screen is adhered around the drum of an ink cartridge. As paper is passed through the machine, the drum rotates and the ink within the cartridge is pushed through the holes in the master screen. Some riso machines have multi-drum capacity, so multiple color layers can be printed at once. https://images.squarespace-cdn.com/content/v1/52e781f9e4b024866c16dae6/1595456166488-O0VVPU9FSJEF9AJZ3POD/3.Yasuyo_Collagraph.jpg f.a.q. - collagraph Collagraphs are all about texture. The artist arranges and adheres flattened items with unique textures or outlines—such as lace, plants, sand, hair, bubblewrap, cut cardboard, etc—to a rigid surface, inks the surface of the items, and applies pressure to the back of a sheet of paper to print the image onto it. The resulted print is often highly embossed, and can be editioned. 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