[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.
You are now at the second half of our 30 day creative challenge. It’s all uphill from here! Did you see the post with some of my favorites? Today’s challenge builds on yesterday’s. You can use the same plant, or even the same drawing, if you wish. This time, instead of drawing continuous contour lines, …
Bee-Pin by David Dodge Lewis (1997). Vitreograph on paper, edition of 30. Photo courtesy of the Littleton Collection. Vitreography is a printmaking technique that uses a thick glass matrix instead of the traditional matrices of metal, wood or stone. Sound interesting? You can make your first vitreograph next week! VitreographyTuesdays 6-10pmStarts Sept 23REGISTER TODAY!
I’m collecting images to share for week three of the SAL Challenge. I’ll post them tomorrow. One more day left in the 31 day creative challenge. Get your sketches up!
[image_with_animation image_url=”11209″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] Thank you for the Salish Sea art submissions! My inbox has been pinging with new and interesting artworks from all of you. I welcome all these flora, fauna, maps, and memories. I hear a few of you need a couple more days to get your artworks finished, so I’m …
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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You are now at the second half of our 30 day creative challenge. It’s all uphill from here! Did you see the post with some of my favorites? Today’s challenge builds on yesterday’s. You can use the same plant, or even the same drawing, if you wish. This time, instead of drawing continuous contour lines, …
Vitreograph by David Dodge Lewis
Bee-Pin by David Dodge Lewis (1997). Vitreograph on paper, edition of 30. Photo courtesy of the Littleton Collection. Vitreography is a printmaking technique that uses a thick glass matrix instead of the traditional matrices of metal, wood or stone. Sound interesting? You can make your first vitreograph next week! VitreographyTuesdays 6-10pmStarts Sept 23REGISTER TODAY!
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[image_with_animation image_url=”11209″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] Thank you for the Salish Sea art submissions! My inbox has been pinging with new and interesting artworks from all of you. I welcome all these flora, fauna, maps, and memories. I hear a few of you need a couple more days to get your artworks finished, so I’m …