Thursday, February 28, 2013

How much detail?

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.

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.

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 terms, monoprint and monotype are often used interchangeably, but there is a difference between one and the other. I am working on monotypes and they are essentially one of a kind prints.
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?


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.

Thursday, February 7, 2013

distilling, Japanese woodcuts, and changing your thinking

6x6 pastel
Oiso- Hiroshige
The hardest thing to do is to distill the landscape down to the elements that are most important. My movement towards a new interpretation of the landscape constantly challenges my habitual ways of looking and creating. It involves some trust to tear me away from my normal ways of working. The first big change is working in the studio rather than outdoors. I often get stymied and frustrated. Recently I find myself turning to the Japanese masters, especially 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
 During the later part of the 18th century the European artists were heavily influenced by the Japanese woodcuts.
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!