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The “Infinite Monotype" concept emphasizes the series conveyed by ghost images visible in subsequent monotypes, whether printed by hand or on press. When you display them sequentially on a wall or in a book they have a temporal and narrative power that a collection of single prints can't approach. This workshop compresses the technical learning curve about what doesn't work – such as washes, thick paint, smooth paper, etc. – that otherwise would take months to learn.
Monotypes offer an amazing combination of drawing, painting, and printing in one process. Monotype can be done with a limited budget, supplies, and space. My method involves painting in watercolor on glass or Plexiglas and transferring it with hand tools onto rough papers ranging from Bristol to rice paper. Students needn't be advanced or have drawing skills. Painting with watercolor on plates can of course be done in plein air, the student's studio, or in the classroom.
Dean Morris graduated from The Cooper Union School of Art in 1980 and had an award-winning career as a graphic designer in New York City. He wrote articles for several design magazines and taught graphic design at The Cooper Union, Pratt Institute, and Parsons The New School for Design. Since 1996 Morris has worked in the media of drawing, collage, sculpture, computer art, photography, and printmaking.
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On teaching:
Teaching isn't a thankless job, it's a magical process with real results when students open a new door to themselves and you helped do that.
Someone who is looking for an art course may be drawn to prominent elements of my work; color, gesture, approachability rhythm, simplicity, curiosity, reexamination of the academic subjects of self-portrait and floral sketch, or the humor and courage to half-erase the ghost image but keep it around to haunt the next painting that I print. They may want help finding and using their own ideas. They surely will want their individuality to show through, and just as I'm bad at imitation, I'm bad at demanding students copy me. An idea and its clear expression is my goal, that's what students want -- they may not even realize it -- and I give it to them.
I adore several different elements of art; line, color, form, contrast, mood, and sequence. I like a few classical drawing tricks like a halo around a predominant detail to make it pop. I like pursuing beauty through every section being readable -- whether I'm depicting something that should be recognizable or not. If you cut a 4x4 square hole from cardboard and place it anywhere over your work, you should have a section with beautiful forms. Similarly, if you were to mount your art and jigsaw the negative and positive shapes apart you should be able to pick up any piece and hold a beautiful shape in your hand!
What students said:
" I greatly appreciate his open mind and his insights into my work."
—Michael Aron, graphic designer and teacher
About this class:
The more you examine your work in the Infinite Monotype method you'll see time, meaning, and form converse in its newly minted and unique language. You'll realize you have interlaced yourself with your ideas, experiences, techniques, materials, and ultimately your art. The images send you back and forth in sequence; under and over themselves; before and after each other; and ultimately previous and next on the wall or in an edition or book. A series of Infinite Monotypes is an automatic gallery show plan or instant book design -- the results shine in those viewing formats.
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