• Guache:  Watercolor that is opaque and is similar to the paint (poster paint) that children use in school.
• Fluid Acrylics:  Like heavy cream in texture.  Often thinned and used like watercolor.
• Inks: Acrylic or water-based.
• Transparent Watercolor:  Often used with some of the above.

ACRYLICS

Heavy bodied paint like oils.  Usually applied with a brush or a palette knife.

COLLAGE

The permanent application of pieces of paper or objects to a support consisting of paper, canvas, matboard, etc.  The design of the collage may be realistic or abstract.

PASTELS

Pure pigment bound in a chalky crayon-like form that is used to draw or paint on paper which has a

toothy surface to hold the pigments in place.

PRINTS

All prints presented on this site are original artist's prints made directly with a printmaking process.  They are not reproductions of art work.

• Block Printing:  Carving into linoleum or wooden blocks.  Printing ink is rolled across the block and paper is placed on top of the inked block.  It is printed by hand-rubbing or by means of a printing press.  This process allows for multiple images that are the same.  In any multiple printing process, the pieces are numbered (in the lower left corner) as follows:  1/25, 2/25, 3/25, etc. which shows that there were 25 prints made.
• (Silk) Screen Printing:  A wooden frame is used to tightly stretch a fine mesh material.  Usually the material used is Dacron but at one time it was silk.  Thick screen printing ink is squeezed through the mesh with a squegee.  Parts of the screen are blocked with special stencils or masks so ink is deposited only where it is wanted to form the image.  Several runs may be made using different colors for a more complex design.  Screen printing is done commercially on many objects such as tee shirts, mugs and posters.
• Monoprints /Monotypes:  Terms are often used interchangeably.  A printing plate (plexiglass, metal, glass etc.) is used for applying inks or paints in various ways using brushes or rollers.  Paper is placed on top of the plate and pressure is applied.  The print is pulled.  Since only one print can be made from the plate, it is called a monoprint.  The print can be over-printed with another inked plate, a stencil, rubber stamps and inked textural materials.  The print can be additionally embellished with pastels, inks, and collage.  The possibilities are endless. Sometimes a second print can be pulled from the leftover ink on the plate and that is called a ghost print.  It is much lighter and occasionally nicer. 
• Screen Monoprint:  Drawing or painting is done directly on the (silk) screen with water soluble mediums.  Screen printing extender is squeezed through the mesh and whatever was drawn on the screen is transferred to the paper.  A different printing can be done over the first.  All the monoprint embellishments described above can be used with this technique.
• Collagraph:  This is a printing surface to which textural elements have been glued.  It is similar to making a collage with a slightly raised surface.  It needs to be sealed for waterproofing.  A printing press is required to get an image.  Each time a print is made the collagraph plate must be cleaned and re-inked.  This type of print may be embellished if desired.
• Combination Methods:  Sometimes I combine different methods.  For example, I might screen print over a monoprint or a collagraph.

 POLOROID TRANSFERS

• Image Transfers:  A Vivitar slide printer is loaded with Polacolor 669 film (pull-apart film).  A slide is inserted into the printing slot and a Polaroid print of the slide is made but not allowed to fully develop.  The partially developed Polaroid is removed and pulled apart to expose the emulsion.  The photo emulsion is pressed on to damp watercolor paper.  Pressure is applied with a printing roller for a couple of minutes.  When the Polaroid film is lifted, the image has transferred to the paper.  It looks more like a painting than a photograph
• Emulsion Transfer:  The same procedure as above is followed, except the image is allowed to fully develop and dry completely.  It is soaked in hot water and the top layer or emulsion layer is lifted from its backing while in cold water.  When it is lifted it is gently placed on to watercolor paper while both are in the water.  It is very delicate process because the emulsion is subject to tearing but it can be stretched and manipulated into various shapes.

If you have any questions about any of this information, feel free to contact me.