Each one is an original.   The mediums vary: watercolor and oil are my usual medium, but I also work with casein paints.   Casein is a water based paint which uses milk protein mixed with the pigments as the fixative instead of gum arabic which regular transparent watercolor paints use.   When the casein paint is dry it is completely waterproof.   Casein can be painted onto masonite, onto gessoed watercolor paper, or onto Japanese paper.   Each method produces a different effect.
Zinc or copper plates are first covered with an acid-proof ground (a mixture or beeswax and asphaltum).   Lines are then scratched through the ground, exposing the metal below.   The plate then is etched in acid.   The length of time it is exposed to the acid determines
the darkness of the line.   To produce a lighter line, a blocking agent must be brushed on to protect that area from the acid.
When it is etched as dark as needed, the plate is cleaned, inked, most of the ink is cleaned off, and the plate and damp paper is run through the press.   The paper picks up the ink from the lines, creating the image.
My prints are run in a limited edition, usually not more than 30, and are numbered as such.
A type of etching whereby areas instead of lines are etched into a plate.   The metal plate surface is covered with tiny droplets of melted rosin or lacquer, as opposed to a ground (see etching).   The plate is then etched around these droplets.   The darkness of the tone etched depends on the length of time the acid is allowed to contact the plate.   As with regular etching, areas to remain lighter are progressively painted out with a blocking agent. The plate is then cleaned , inked and run through the press.
These monotypes use oil-based ink.   The inks may be rolled onto a plate with a brayer or painted on with a brush.   The plate can be metal, glass, plexiglass or even a frosted mylar sheet.   Using the subtractive technique, the inks can be manipulated by wiping away parts, scratching through areas, or thinning with solvent in areas.   With the additive technique, the image is painted directly onto the plate. It can be transferred onto printmaking paper in a single transfer using a press.   It also can be done with multiple transfers on to the same piece of paper, which allows for more complex images.   In all cases there is only one print made.