The monotype is the technique of making artwork by painting the substrate and by printing only one finger A substrate (flat plate, or plate that can have recesses or protrusions, and may be stone, ceramic, metal or plastic) is used for the substrate and the preparation of the imprint. It is important that the board used does not absorb the applied color. On the panel, the artist paint a picture or drawing using a gel with added glycerin against rapid dimming, or even with oil paint or some of the graphic colors. When the image is over, paper is applied across the board, which is pressed on the painted plate by pressing, roller or hand. Wholly dry paper can be used, where the colors are more pronounced with stronger contrast, while using the lacquered color paper become softer and slightly discolored. In this way all the color of the board remains on the paper, only one single imprint is possible, so in the professional circles it is still a matter of debate whether the monotype is at all a graphic technique (because it is a precondition for multiple prints), or is the original, a unique piece of art because there is only one single copy. Monotipija, Edgar Degas, San (1883-85) Monotipija, Paul Gauguin, Dvije Tahićanke (1902) The monotype was first used by Giovanni Benedetto Castiglione (1609-1664), an Italian painter and copper maker, who was also the first artist to use the sketches as finished and finished works, not just as a study for the final, final work. Practically, as a monotype inventor, from 1640 he made more than twenty works, usually in black and white.Many artists such as Degas, who made several monotypes, frequently handled after printing (by the sea, 1876-7), served this technique of making artwork; there are still Pissarro, Paul Gauguin, Paul Klee. In the twentieth century the technique became more and more popular.
The monotype is the technique of making artwork by painting the substrate and by printing only one finger A substrate (flat plate, or plate that can have recesses or protrusions, and may be stone, ceramic, metal or plastic) is used for the substrate and the preparation of the imprint. It is important that the board used does not absorb the applied color. On the panel, the artist paint a picture or drawing using a gel with added glycerin against rapid dimming, or even with oil paint or some of the graphic colors. When the image is over, paper is applied across the board, which is pressed on the painted plate by pressing, roller or hand. Wholly dry paper can be used, where the colors are more pronounced with stronger contrast, while using the lacquered color paper become softer and slightly discolored. In this way all the color of the board remains on the paper, only one single imprint is possible, so in the professional circles it is still a matter of debate whether the monotype is at all a graphic technique (because it is a precondition for multiple prints), or is the original, a unique piece of art because there is only one single copy. Monotipija, Edgar Degas, San (1883-85) Monotipija, Paul Gauguin, Dvije Tahićanke (1902) The monotype was first used by Giovanni Benedetto Castiglione (1609-1664), an Italian painter and copper maker, who was also the first artist to use the sketches as finished and finished works, not just as a study for the final, final work. Practically, as a monotype inventor, from 1640 he made more than twenty works, usually in black and white.Many artists such as Degas, who made several monotypes, frequently handled after printing (by the sea, 1876-7), served this technique of making artwork; there are still Pissarro, Paul Gauguin, Paul Klee. In the twentieth century the technique became more and more popular.
