monoprint technique

New York City template made from cut

up monoprint rejects

"Purple Bird on a Green Goat in New York City", Monoprint, 21"X29", 2010. This piece was painted on top of the NYC template (left). If you look closely you can see the reversed image of the NYC collage in the background.

I make my monoprints by painting on glass, placing a sheet of paper over the glass, and, using a press, transferring the image from the glass to the paper. I only make one rubbing, so each print is one-of-a-kind (as "mono" suggests). I love monoprints because they give you the originality of a painting with the line quality of a print.

What I'm doing more often now is that instead of painting on glass, I'm painting on a collage that I make from my cut up monoprint rejects (of which I unfortunately have an abundance). The imprint from the texture of the collage comes out as a background (or in some cases a foreground) and gives the piece a subtle depth. In the old days I would hand rub them, but now I use my press. I do still hand rub certain areas sometimes to create more pressure and different effects.

"Flower Collage", collage board used as a template for making monoprints, 26" x 20"

Fictitious Cityscape template made from cut up monoprint rejects, 16"X16", 2008

"Goat Lost in Flowers", monoprint, 26" x 20", 2010

Dog with a Canteloupe Discovering a Fictitious City", Monoprint, 16"X16", 2009

Realistic and fictitious portraits, including rabbis, dogs, cats, and other animal paintings and monoprints

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