I have been making monotypes for 40+ years and I like making them because the ink is as easily wiped away as it is added, allowing the image to quickly go through many changes. Monotypes are the perfect marriage of painting and printmaking. They require the same sensibility as a painter, working in full color directly on the plate, yet the prints have unmistakable qualities that can only be achieved by printing the color on paper.
I have produced many lithograph editions and found making multicolor lithos too slow for me, requiring a separate color plate for each color, and multiple printings in order to produce a single print. This goes against my sensibility, as I see working with color as an emotional and experiential process, light waves and vibrations. Monotypes allow me to work in full color directly on the plate, similar to painting. There is a time restraint, as the image must be printed before the thin layer of ink dries and fails to transfer to the paper.
Once there is an image painted on the plate, it is placed on an etching press, covered with paper and woven blankets and run through the rollers of the etching press, transferring the color from the plate onto the paper, and producing one unique mirror image print. The plate can then be cleaned and a new image made, or the residual "ghost" image that remains after the print is pulled, can then be reworked allowing for a kind of serial evolution of the image. I am willing to sacrifice the commercial viability of a multiple-image edition, for a series of unique prints, which I do achieve with monotypes.
Monotypes, with its rich and versatile techniques are conducive with my long-standing interest in gestural mark-making and rich textures. I always push the limits of this medium yet I feel I have only scratched the surface.