No actually, these are monotype prints. When an artist paints, the paint goes directly on the final paper, canvas, or other substrate. With printmaking, there is a step in between. Printmakers use a prepared plate from various materials, apply ink or paint on them, and then put the final paper on top of it. After pressing the paper, the impression (image) prints. After pulling the paper off the plate, the impression/print is ready to frame. A monoprint means having the same image on the same plate, and the printmaker can make identical impressions (prints) from them as many times as is needed. However, only one impression can be made at the time. A monotype is different. With a monoprint, multiple identical impressions can be made, whereas with a monotype only one impression can be made. After the impression is made, the plate is completely wiped clean and the printmaker restarts creating a new image on the plate. These images can be similar but never identical. When monotypes are purchased, the collector always knows that the impression is unique. Monotypes could be enhanced or used as a foundation before the final piece is ready, yet, the same principle remains, the final piece is a unique and original work of art.

No. It is the original. A reproduction is a machine copy, made as often as you like. A monotype exists once, and no copies are made of it.

I reconstruct traditional architecture — currently the traditional Malaysian house — as a digital model. I then edit the image to a high contrast black/white print. That is printed out on a laser printer and then the image is transferred to the gel plate. From there, I choose the artistic direction and apply acrylic paint accordingly. The preferred approach is working from foreground to background, using different layers on top of each other. The last layer is white paint and the final paper is firmly pressed on top until it is dry to pull.

Months before the first impression: researching, modelling and editing each house. Each impression then takes two to four hours at the plate.

That is the uniqueness of the technique. With an inkjet/laser printer, the print is as what is on the computer screen. Other hand-made print techniques work from background to foreground and the printmaker can see the consistency of a print before applying a layer of paint that goes on top of it. With gel printing, it is opposite. Transparent, or opaque paints are layered in reverse on top of each other. Hence, I can only see the final result after the impression is lifted from the plate. How different layers interact with each other has some expectations, but it never is as consistent as mechanically printing. The results give each impression its unique character.

Gel plate monotype printing is often associated with hobby and craft use, and I don’t distance myself from that — it’s an accessible, enjoyable process. Because a gel plate is available to everyone and no etching and carving skills are needed, doesn’t make printmaking with a gel plate “cheap”. A gel plate has a different set of constraints and unpredictability, which make the final impressions unique. The focus is on what is told, what each monotype print represents. The focus is not on the tools itself. The gel plate is the same one anyone could buy. What’s printed on it, and why, is not.

Each piece is signed, titled and dated in pencil below the artwork, and comes with a certificate of authenticity. Artwork only can be sold through this website, and perhaps in the future through galleries. Only I can provide evidence of production by giving insight in the whole production workflow. I do not make reproductions of my work. If you come across reproductions then they are fake, not created nor endorsed by me. Feel free to contact me at any time when there is doubt.

No. Each impression is unique. Please contact me if you would like to discuss options for a new unique impression that comes close to the look and feel of the one you had in mind. It will come close as far as the process allows but never identical.

Yes, especially houses you have specific memories of that you call ‘home’. Contact me for possibilities. The scope can range from creating a hand-made print from an image you provide to me recreating the house closest to reality as possible where after I create monotypes prints from them.

Archival-quality, acid-free, 100% cotton paper (Arto cold/hot press, milled in the EU). The 8″×10″ print is on A4 paper (8.3″×11.7″). The 9″×12″ print is on A3 paper (11.7″×16.5″). A smaller ACEO format is also under consideration for the future. The medium is acrylic paint with confirmed light-fastness for colours to be good for the next many decades to come, when cared for properly.

Prints are sold ready to frame, not ready to hang. This keeps them light and affordable to ship safely; framing locally is often cheaper than the increase in shipping a framed piece would require. In addition, I have the experience that customers want to have the same/similar frame as pieces they already have to ensure consistency in style. If the print requires to be sent framed, please send an email to reachme@danielarendzen.com with the request before purchasing to find the best possible solution.

Each print is made with quality and longevity in mind, but like any work on paper, it’s affected by humidity and direct sunlight. For best results, frame it behind glass with a mat (passe-partout) so the glass doesn’t touch the print directly, and keep it out of direct sunlight in a low-humidity space. The monotype prints do not have museum quality for it to live over 200 years. However, they should be able to transfer from at least one generation to the next.

Yes, including the EU, for now. Since 12 August 2026, new EU packaging rules require me to register in each EU country I sell to, keep records of packaging, and pay a yearly fee per country, starting at €100. For a one-person studio that is a lot of cost and administration. If it becomes unworkable, I will stop shipping to the EU.

Art ships from Malaysia. Delivery within Malaysia is complimentary and is shipped with POS Laju; international orders are shipped with DHL. International shipments have a flat fee of RM 280 (approximately $70 USD), including fuel surcharges, but are shipped DDU (Delivered Duty Unpaid) — collectors are responsible for any customs duties, taxes, or import fees applicable in their region.

I ship with DHL so every piece is tracked and arrives safely. DHL currently adds a high fuel surcharge, largely because of the war with Iran, which makes shipping more expensive than it would otherwise be.

Orders ship within two working days, and usually arrive within 10 days. I can’t guarantee or agree expected delivery dates.

Yes, within 14 days of delivery, as long as the piece can be sold again as new. Within Malaysia, exchanges for another available piece are possible too; for international orders, returns only. Return shipping is covered by you, and for international returns, any customs duties or fees charged when the piece comes back into Malaysia are deducted from your refund. If your piece is damaged during delivery, we file a claim with DHL or POS Laju. For that, we need a full unboxing video, because photos can’t show when the damage happened, sent to us within 48 hours of delivery. Full details are in our Refund & Returns Policy.