Here is another failed monotype turned pastel. Once I am using a monotype as a base the freedom is immense. Move the shapes. What was no longer matters, there are no ties.
Thursday, February 28, 2013
Monday, February 25, 2013
triptych- the lake
The latest triptych, this time created with pastel and graphite on paper. I feel my monotypes and drawings are coming closer together.
Friday, February 22, 2013
monotype throw-a-ways
Here is my first monotype. It was way too dark. I have now learned that I prefer working over the ghost print(what remains after you run a print.)
I like the softness of the ghost print.
So when the print came out like this, all filled with ink and no subtleties, I had 2 choices: throw it away or play with it. I chose play with it. I worked with pastel and sandpaper. The top image is what I have now.
My new printing phase is teaching me. I can feel it. It really doesn't matter what the product is right now- it's the trusting.
Labels:
a painting a day,
Loriann Signori,
monotype,
re-working
imitation and poetry
Sunrise:April, Dwight William Tryon, oil on wood 50.9 x 76.3 at the Freer/Sackler |
"The less imitation, the more suggestion and hence the more poetry."
Dwight William Tryon
Doesn't that just say it all?
I am still in the printmaking studio, distilling my images even more.
Monday, February 18, 2013
monotype
10x10 monotype |
The process of creating a monoprint or a monotype is the same, but when doing monotypes, you work on a clean and un-etched plate. When creating a monoprint, there is always a pattern or part of an image which is repeated in each print.
Monoprints and monotypes can be created by manually adding (additive method) or removing (subtractive method) ink from a plate which is then printed using a printing press. In the subtractive method you cover a surface (metal or plexi-glass plate) entirely with color (usually with etching ink or oil paint), then you remove the ink partially or wholly to expose areas of the picture being made. You can use brushes, Q-tips, fingers, rags, etc. With the additive method, you start with a clean plate and apply the ink or oil paint (sometimes even water-based inks or crayons) in various ways.
So far I have found that making a type of notan with the ink and brayer and later adding and subtracting accordingly is a nice compromise. The brayer helps me add less ink. It has been a very long time since I worked in printmaking and I have sooooooo much to learn and relearn!
I am venturing back in with the idea I will build stronger paintings later- a more distilled painting.
Here are two of Degas' inspiring monotypes. The first is only ink and the second is oil paint with pastel scumbled over. Aren't they sumptuous?
Labels:
a painting a day,
landscape prints,
Loriann Signori,
monoprint,
monotype
Wednesday, February 13, 2013
the moment before night
This moment in time is the most challenging since it lasts about 3 minutes then there is dramatic change- darkness.
Labels:
a painting a day,
Loriann Signori,
nocturne,
pastel landscape
Thursday, February 7, 2013
distilling, Japanese woodcuts, and changing your thinking
6x6 pastel |
Oiso- Hiroshige |
So I will share with you my research and realizations. It's ironic how my road paintings are my vehicle to move in this direction. (heehee)
Kambara-Hiroshige |
The Japanese introduced a whole different way of looking at composition. Some of their devices were:
*the extreme vertical
*truncation of major parts
*use of large empty space
*very high or very low viewpoints
*a many paneled painting (while this was not new -think Giotto, Piero della Francesca or the Ghent altarpiece by the van Eycks)
In my next post I will talk more about these and the whys. Till then....
Monday, February 4, 2013
wolf kahn and his color monoprints
6x6 pastel |
I see my new "on the road" series dipping into printmaking. Here is a wonderful video of Wolf Kahn and Emily Mason at their monotype/monoprint show. In it, WK gives a class on his way of making a print. Enjoy!
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