Welcome to the print and works on paper section. All prints shown here are original, and were made utilizing traditional techniques. Plate etching, printed limited editions, and monotypes are created in my printshop, Hirsh Greene Press, Bernalillo, NM. The Lithographs were made with assistance from printers at the Tamarand Institute, Albuquerque, NM. All limited edition etchings available for purchase will include a documentation sheet with a description of the print and technical process, a summery of the prints designated outside the numbered edition, and signed by both artist and printer affirming authenticity. There are several new print projects in process, and will be available for viewing in the near future. Please visit works on paper periodically for updates.

A brief description of techniques:

MONOTYPE: The term Monotype refers to a one-of-a-kind print pulled from a blank plate, rather than a Monoprint or edition print, which has an image etched or incised into the surface. Copper and Zinc etching plates are commonly used for monotypes, as well as plexi-glass and acetate. An image is drawn or painted on a blank smooth surface, and one print is pulled. The thin layer of ink remaining on the plate is called a ghost, and is often used as the basis for a newly painted image. The singular print can also be re-dropped (over-printed) by laying a re-worked plate over the print, and run through the press again. There is no limit to the number of times a print can be re-dropped. The directness of the process appeals to me as a painter, as well as the fluid quality of material, layering of color, and a rich black velvet-like quality to the surface. I use a combination of copper and plastic plates, and re-drop my monotypes many times. I often use a subtractive method when making an image by applying a solid black layer of ink to the plate with a roller, and then gradually subtract the information I want to show up as light or white.

ETCHING: The term Etching refers to a process in which a design is literally etched into the surface of a metal plate by use of an acid bath. The surface area of the plate removed by the acid becomes a repository for ink, which is then transferred to paper through the use of an etching press. I use a combination of techniques in the making of my etchings, such as, aquatint, soft ground, hard ground, and soap ground. I also work the plates by hand with scraper, burnisher, and drypoint tools. Color etchings are created by both a combination of multiple plates printed in registration, and `a la poupe'e - a technique for adding several colors on the same plate.