Ruthie’s V notes always interest me.So, I could not fail to respond to comments on the painter’s frustration with printmaking. [V. Note: What I Hate About Printmaking] Yes, painting feels more immediate and printmaking requires the artist to spend tons of time preparing for an image (that may or may not be what was originally imagined, when the final print is revealed). Sometimes I think all that tedious practical preparation time is a needed meditative opportunity.However, painting is often the only medium that serves certain marks, gestures, and surfaces, and allows for spontaneity, a certain expressive energy and sudden gratification.
The integration of screenprinting and painting have challenged me for years, so I share here a few things I have learned.Screenprinting inks have a great range of color possibilities, can be transparent or opaque, glossy or matte.This screenprinting process is good for substrates from paper to plastic, glass, canvas and metal.The “toothy” surface of a field of flat screenprinted color on paper is suitable for drawing with prismacolors, oil pastels, collage and a subsequent working with a variety of paints. Silkscreen is known for an end product that is flat, bold, and hard edged.However, just like the “painterly print” that springs from working on a plate, screenprinting can be the basis for painterly monoprinting and monotypes. The montoype has a tendency to be most lively in an abstract and expressionistic approach, but it can also be simple and utilitarian in some kinds of images where flatness is appropriate.
My own artwork is a multilayered image that begins and grows fairly organically on rag paper or canvas with a loose, abstract texture or field of painted color.Next, a photo-stencil screenprint – employing that ultra-rich flat black that comes from the oil-based screening ink – begins to sharpen the image and suggests the direction of the content or narrative in the final image.Just like raising a child, I have learned not to try to predict too precisely what will materialize in the end, but through layer by layer of paint, drawing materials and silkscreen-stencils, we have a dialogue, and I try to guide the process toward a message I believe in.
[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” width=”1/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”11400″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”][vc_column_text] Copper plate with grey ink (see print a few pics below) I met with Nikki today to get some schoolin’ on drypoint. Dypoint, the art of scratching a shiny surface with a pointy …
Exquisite Corpse is a collaborative, chance-based drawing game invented by the Surrealists in the mid 1920s. Traditionally, each participant draws an image on part of a sheet of paper, folds the paper to conceal their work, and passes it on to the next player for their contribution. This is a modern version, with the entries …
Another collection of favorites from the personal inspiration files of Carlos San Millan. At first glance, this looks like a figurative study with the figure divided into abstracted patches of flat color. For some of the areas, paint has been scraped away, so that the color underneath can be seen through the top layer. San …
Erin Goodwin-Guerrero: Embracing Mixed-media
Erin Goodwin-Guerrero, Fracker, 2018
Guest blogger: Erin Goodwin-Guerrero
Embracing Mixed-media, Print and Paint
Ruthie’s V notes always interest me. So, I could not fail to respond to comments on the painter’s frustration with printmaking. [V. Note: What I Hate About Printmaking] Yes, painting feels more immediate and printmaking requires the artist to spend tons of time preparing for an image (that may or may not be what was originally imagined, when the final print is revealed). Sometimes I think all that tedious practical preparation time is a needed meditative opportunity. However, painting is often the only medium that serves certain marks, gestures, and surfaces, and allows for spontaneity, a certain expressive energy and sudden gratification.
The integration of screenprinting and painting have challenged me for years, so I share here a few things I have learned. Screenprinting inks have a great range of color possibilities, can be transparent or opaque, glossy or matte. This screenprinting process is good for substrates from paper to plastic, glass, canvas and metal. The “toothy” surface of a field of flat screenprinted color on paper is suitable for drawing with prismacolors, oil pastels, collage and a subsequent working with a variety of paints. Silkscreen is known for an end product that is flat, bold, and hard edged. However, just like the “painterly print” that springs from working on a plate, screenprinting can be the basis for painterly monoprinting and monotypes. The montoype has a tendency to be most lively in an abstract and expressionistic approach, but it can also be simple and utilitarian in some kinds of images where flatness is appropriate.
My own artwork is a multilayered image that begins and grows fairly organically on rag paper or canvas with a loose, abstract texture or field of painted color. Next, a photo-stencil screenprint – employing that ultra-rich flat black that comes from the oil-based screening ink – begins to sharpen the image and suggests the direction of the content or narrative in the final image. Just like raising a child, I have learned not to try to predict too precisely what will materialize in the end, but through layer by layer of paint, drawing materials and silkscreen-stencils, we have a dialogue, and I try to guide the process toward a message I believe in.
Erin Goodwin-Guerrero
Seattle, Washington
January 11, 2019
Erin Goodwin-Guerrero, Designer Waters, 2018
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Another collection of favorites from the personal inspiration files of Carlos San Millan. At first glance, this looks like a figurative study with the figure divided into abstracted patches of flat color. For some of the areas, paint has been scraped away, so that the color underneath can be seen through the top layer. San …