[image_with_animation image_url=”7183″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] I’ve been making more monotypes. I can’t seem to put them down. The exciting discovery of what comes out of the press is as neurologically rewarding as opening wrapped presents. Better maybe. The invitation of the ghosted plate, cold blankness eliminated, grey tones and shapes invite me to create again, and again, and again.
Monotypes are so similar to paint that I feel I already have some skills, but they are a bit like painting semi-blind. I can see the ink on the plate, but it’s darker than it will be printed, so it’s like … well … painting in the dark. I can hold the plexiglass up to the light and see some of what I’m doing because the light shines through the area I’ve removed ink from and remains black in the areas that carry heavy ink, but the print is always a surprise. I haven’t timed myself and every time I do it I completely lose track of time, but I’m guessing I spend about 20 minutes painting a plate. Honestly it could be more. I really have no idea. But it feels like a sketch, not a “serious” work, so all the experimentation and gambling feels low stakes and high rewards. And since monotypes lend themselves so gracefully to top layers of pastels and paint, I feel another layer coming.
Degas used monotypes as first layers for drawings and paintings. He’d print one or two impressions from a plate, the first one being dark and inky, the second “ghost” image light and grey. Here are some examples of Degas’ monotypes with pastel and oil paint.
[image_with_animation image_url=”9399″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] Francis Bacon’s studio Where do you make art? I find looking at artist’s spaces just as interesting as looking at the artwork made there. In part, what I’m looking at when I look at art spaces is how people adapt their space to suit their needs (how the studio …
This collection is from an Artsy editorial by Casey Lesser from June 10th, 2016, originally titled “These 20 Female Artists are Pushing Figurative Art Forward.” Casey’s full writing is below. Personally, I’m less interested in continuing the very legitimate fight to acknowledge female artists, and more engaged by the subject matter, with respect to the artist’s life, …
Search for #30sal on Instagram and along with our 775+ recent art posts, you’ll likely see this photo by pedramparsaaa posted in 2017, tagged #30sal. Yes, Pedram, we hijacked your hashtag. Wednesday is the “See and Respond” day for challenges. Today, let’s give something back to Pedram. Use his pic above as inspiration for an …
Edited from the original post by Lindsey Rae Gjording 2014/05/14/artists-way-whiting-tennis/ [image_with_animation image_url=”4017″ alignment=”” animation=”None Letting the line happen Although always evolving, his process has been pared to what is proven to work best, a combination of drawing and more processed pieces that follow after that. He explains: “It starts out of drawings. I draw on paper …
Degas’ Pastel Over Monotypes
[image_with_animation image_url=”7183″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] I’ve been making more monotypes. I can’t seem to put them down. The exciting discovery of what comes out of the press is as neurologically rewarding as opening wrapped presents. Better maybe. The invitation of the ghosted plate, cold blankness eliminated, grey tones and shapes invite me to create again, and again, and again.
Monotypes are so similar to paint that I feel I already have some skills, but they are a bit like painting semi-blind. I can see the ink on the plate, but it’s darker than it will be printed, so it’s like … well … painting in the dark. I can hold the plexiglass up to the light and see some of what I’m doing because the light shines through the area I’ve removed ink from and remains black in the areas that carry heavy ink, but the print is always a surprise. I haven’t timed myself and every time I do it I completely lose track of time, but I’m guessing I spend about 20 minutes painting a plate. Honestly it could be more. I really have no idea. But it feels like a sketch, not a “serious” work, so all the experimentation and gambling feels low stakes and high rewards. And since monotypes lend themselves so gracefully to top layers of pastels and paint, I feel another layer coming.
Degas used monotypes as first layers for drawings and paintings. He’d print one or two impressions from a plate, the first one being dark and inky, the second “ghost” image light and grey. Here are some examples of Degas’ monotypes with pastel and oil paint.
[image_with_animation image_url=”7182″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”][image_with_animation image_url=”7180″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”][image_with_animation image_url=”7193″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”]
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Search for #30sal on Instagram and along with our 775+ recent art posts, you’ll likely see this photo by pedramparsaaa posted in 2017, tagged #30sal. Yes, Pedram, we hijacked your hashtag. Wednesday is the “See and Respond” day for challenges. Today, let’s give something back to Pedram. Use his pic above as inspiration for an …
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Edited from the original post by Lindsey Rae Gjording 2014/05/14/artists-way-whiting-tennis/ [image_with_animation image_url=”4017″ alignment=”” animation=”None Letting the line happen Although always evolving, his process has been pared to what is proven to work best, a combination of drawing and more processed pieces that follow after that. He explains: “It starts out of drawings. I draw on paper …