[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=”11664″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] For the purpose of torturing my Still Lifes Class with a level of realism few on the planet can reproduce, here are some Still lifes by Israel Hershberg. Israel Hershberg lives and works in Jerusalem, Israel. While he is known primarily as a landscape and figurative painter, his realist …
Let’s do something simple and specific today: Draw this photograph using continuous line. Continuous line is when you don’t pick up your drawing tool once you’ve started. You can speed up, slow down, or stop, but you don’t pick up your tool. You can have up to 3 continuous lines in one picture, if you …
(2015 photo above by SomanMateo Photography) Katherine Wright and Lendy Hensley are participating in the Kirkland Artists Studio Tour. Katherine is teaching Intro to Watercolor at the League this summer, and Lendy teaches Intro to Oil. Both will have their lovely paintings on display for you to see. Great to see our artistic community is active and …
[image_with_animation image_url=”8958″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] Alex Walker, an Especially Enjoyable student in my Intermediate Studio class, decided to work on making his brushwork more direct and decisive by doing a study of John Singer Sargent’s portrait of Henry James. Since his pilgrimage to see it in London brought the sad news that the painting …
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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Israel Hershberg’s Quiet Still Lifes
[image_with_animation image_url=”11664″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] For the purpose of torturing my Still Lifes Class with a level of realism few on the planet can reproduce, here are some Still lifes by Israel Hershberg. Israel Hershberg lives and works in Jerusalem, Israel. While he is known primarily as a landscape and figurative painter, his realist …
30SAL Challenge: Tangled Grass
Let’s do something simple and specific today: Draw this photograph using continuous line. Continuous line is when you don’t pick up your drawing tool once you’ve started. You can speed up, slow down, or stop, but you don’t pick up your tool. You can have up to 3 continuous lines in one picture, if you …
League Members in the Kirkland Artist Studio Tour
(2015 photo above by SomanMateo Photography) Katherine Wright and Lendy Hensley are participating in the Kirkland Artists Studio Tour. Katherine is teaching Intro to Watercolor at the League this summer, and Lendy teaches Intro to Oil. Both will have their lovely paintings on display for you to see. Great to see our artistic community is active and …
Looking Closely at JS Sargent’s Portrait of Henry James
[image_with_animation image_url=”8958″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] Alex Walker, an Especially Enjoyable student in my Intermediate Studio class, decided to work on making his brushwork more direct and decisive by doing a study of John Singer Sargent’s portrait of Henry James. Since his pilgrimage to see it in London brought the sad news that the painting …