WHAT IS A MONOTYPE? WHAT IS A MONOPRINT?
The terms monotype and monoprint represent two distinct processes used to create unique, one-of-a-kind prints.
A unique print is a one-of-a-kind transfer of an inked or painted image from a metal or plastic plate to paper or another receiving surface. The ink or paint may be transferred from plate to paper with hand pressure or by means of an etching press. Sometimes there is enough ink or paint residue left on the plate surface to pull a second, much lighter print. This is called the “ghost”. Each transfer is unique and cannot be exactly duplicated.
"A monotype is made by drawing or painting on a smooth surface and transferring the image to a sheet of paper.
"A monoprint contains lines or images that can be repeated exactly, from one impression to the next, such as etched lines, a carved woodblock or a lithographic drawing. The artist varies the inking in each image, creating a unique impression that is called a monoprint.”
(1) From Singular Impressions: The Monotype Process: Video, Smithsonian American Art Museum, 1997.
ABOUT THE MONOTYPE GUILD OF NEW ENGLAND
The Monotype Guild of New England is a non-profit organization founded in 1985 by Beverly Edwards and a group of artists working with her in monotype workshops at the Fuller Museum in Brockton and at the Cope Cod Conservatory in Barnstable, Massachusetts. The group needed to find sites to exhibit their work and exchange ideas with other artists working in this medium. She formed the structure, purpose and by-laws of the Monotype Guild of New England (MGNE).
The purpose of the organization, dedicated to the art of the unique print, is to foster understanding and appreciation of monotypes and monoprints. To this end, the guild sponsors exhibitions, workshops, demonstrations and other special programs for it’s members and the public.
ABOUT THE JUROR: MARK PASCALE
Curator in the Department of Prints and Drawings, Art Institute of Chicago
Mark Pascale is a lithographer with an in-depth knowledge of contemporary and historical techniques of printmaking. He has been active in the Chicago art world for more than thirty years, as a curator, researcher, and teacher. Currently, he is Curator in the Department of Prints and Drawings at The Art Institute of Chicago, and concurrently Adjunct Professor of Art in Print Media at School of the Art Institute. He has an impressive record of exhibitions and publications, most recently for the exhibition catalogues Contemporary Drawings from the Irving Stenn Jr. Collection, Marks from the Matrix: Normal Editions Workshop, Right to Print: Segura Publishing Company, and Jasper Johns: Gray published by The Art Institute of Chicago in the Fall 2007.