I love the pre-raphaelite painters Millais, Hunt, Rosetti and Waterhouse. Their incredibly imaginative visual interpretations of Arthurian & Greek legends inspire scrutiny of narrative in paintings. Compositions are arranged like theatrical stage sets, with carefully placed evidence of the storyline rendered here and there, so you’re invited to lean close and look at details. What must it be like as a writer to see your words transformed by talented artists into faces, carriage and gestures on canvas?
This monotype (above) from Hamlet’s Ophelia was pulled from the ink quickly, so it has a sketchy, painterly feel to it. I’ve added a light wash of watercolor, and I’m looking forward to playing with other media on the two ghost prints (below).
If you’ve never seen the printmaking process for monotypes, I have a few tutorials on my youtube channel. You can watch a dark field monotype here, and a series of three trace monotype demos here, here and here.
The beauty of dark field monotype ghost prints (like the two in the photo above this one) is that they’re a perfect under-painting for adding other media. #artsupplyplaytime One of the ghost prints was printed on Arches88, a smooth, bright white printmaking paper with no sizing in it. Using watercolor on this paper blooms in all directions, like painting on a paper towel, so dry pigments are a better choice. I’m leaning towards colored pencil on that one. What do you think?
A fellow printmaker – Rich from the web site Boarding All Rows – has posted a very useful series of tests on Printmaking inks, with his conclusions about the best option for printing linocut. Check it out here.
See you in the next post,
P.P.S. I almost forgot! You can save 20% on everything in my Etsy Shop with the coupon code SMALLBIZ2016 till November 30th. 🙂
The ear tends to be lazy, craves the familiar and is shocked by the unexpected; the eye, on the other hand, tends to be impatient, craves the novel and is bored by repetition.
~W. H. Auden