The production of a print essentially involves the transference of an impression from one surface to another. It is generally believed that this process can be continued indefinitely, such as with the duplication of a footprint made by strolling along the beach. But in fine art printing the number of times an image can be replicated depends largely on the materials and techniques used. With the technique used to render these images, only one print can be produced and, accordingly, they are called monotypes. Historically monotypes have been called the "painterly print" because they share a closer resemblance to the process involved in painting than do others prints. The most obvious similarity is that they both constitute one-of-a-kind, unique images that can't be reproduced. They differ in that a painting remains on its original surface while the image for a monotype is transferred from the plate onto paper using a press. The paper used provides the background color and the border. Once the image has been transferred, only "ghosts" remain on the plate that may be further produced but without retaining the same richness and quality of the original. I enjoy creating monotypes for several reasons. First and most importantly, the medium is conducive to the expression of the vague, opaque thoughts and dreamlike imagery that occasionally preoccupies me. The immediacy of the process permits a leaning toward intuitive consciousness and the minimal steps essentially take the math out of it allowing for a great sense of fluidity. Secondly, there exists a richness in tone that can be likened to lithographs which is an art I adore but am unable to use because of the expense it necessitates. Lastly, monotypes have the quality and appearance of a print but without the chore of editioning, a task I like least about printmaking.