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.

Daniel reconstructs traditional architecture — currently the traditional Malaysian house — as a digital model. He, then, edits 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, Daniel chooses the artistic direction and applies 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.

That is the uniqueness of the technique. With a 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, Daniel 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 it’s unique character.

Gel plate monotype printing is often associated with hobby and craft use, and Daniel doesn’t distance himself 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 print comes with a paper certificate of authenticity, is made on 100% cotton acid free paper (either cold press for more texture or the smooth hot press variant). Every piece is titled and signed by hand in pencil on the front. All prints are unique, only sold from this website (or through gallery representation in the future) and no reproductions are made from them. — anyone can copy or print an image of a signature, but not the physical mark pencil leaves in textured paper.

Maybe. On the 12th of August 2026, the EU started to enforce a new ruling which aims to reduce the use of packaging materials. While the intention of this is welcome to reduce the amount of unnecessary packaging, the consequences for small businesses like these are big. We are required to register in each EU country we potentially sell to, keep track of package materials (which implies a lot more administration), and to pay the respective EU country a yearly fee that starts at €100 a year. Since we could sell to all 27 EU member states, it means that we have to potentially pay €2700 up front, each year without knowing whether we will sell enough in each country to recover from that amount. We are monitoring current developments. There is a chance we stop selling to the EU as we can’t afford the financial investment, nor have the administrative capacity to deal with this on top of everything else.

The original is one-of-a-kind and won’t be reproduced. But if a sold piece speaks to you, Daniel can create a new commission inspired by it — as close to the original as the process allows, though never identical. Every pull is different by nature.

Archival-quality, acid-free, 100% cotton paper (Arto cold/hot press). 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, we 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 send 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 one generation to the next.

Yes. We do accept returns and exchanges only when we can sell the print as new. Damaged prints (unless damaged during transport) won’t be accepted. All costs for returning the print is for the customer, including duty/custom fees when the item returns back to Malaysia for international customers. When there is damage during shipping, we file a claim at DHL/POS Malaysia. In that case, a full unboxing video is required (photos alone aren’t accepted) and must be sent to us within 48 hours of delivery.

Orders ship within two working days, and usually arrives within 14 days. We can’t guarantee or agree expected delivery dates. The America-Israel war against Iran complicates shipping regarding costs and time.

Art ships from Malaysia, via DHL. Delivery within Malaysia is complimentary and is shipped with a Malaysian postal service. International shipments are calculated at checkout and shipped DDU (Delivered Duty Unpaid) — collectors are responsible for any customs duties, taxes, or import fees applicable in their region.