MONOTYPE

The monotype occupies a unique position in printmaking because it does the one thing printmaking is not supposed to do: it produces only one impression. Despite this apparent contradiction, the monotype has been practised since the 17th century with the Italian artist Giovanni Benedetto Castiglione is generally credited as its inventor, and it was embraced by Degas, who produced hundreds of monotypes and considered them among his most experimental and intimate works. To make a monotype, the artist applies ink or paint directly to a smooth, non-absorbent surface which is traditionally a metal or glass plate, and then presses paper onto it to transfer the image. The result is always somewhat unpredictable: the pressure of the press, the consistency of the ink, and the texture of the paper all contribute to the final image in ways that cannot be fully controlled. A second, ghost impression can sometimes be pulled from the residual ink on the plate, but it will be lighter and more fragile than the first. The monotype is valued precisely for its resistance to exact repetition. It combines the spontaneity of painting or drawing with the reversed, transferred quality of a print, producing images with a particular softness and luminosity. For many artists it serves as a space of experimentation as a place to work quickly, intuitively, and without the pressure of producing a defined edition.