The monotype, while I was adding colored pencil to flesh out some of the details.
One of the best things about using Akua is the clean up; Green Works wipes (no thinner or turpentine) clean the ink off the plate and my work surface instantly. I’m really loving this product; great pigments, non-drying until they get pressed to your paper, non toxic, no fumes and easy clean up.
A soaked and blotted sheet of Rives BFK paper was laid over the plate, and rolled under the press. In this photo, I’m pulling the print from the plate, and you can see how well the Akua Kolor releases from the surface of the lexan plate.
Laying the plate on the press bed, ready to print.
The preliminary sketch of a reader in a greenhouse, near a birdbath fountain.
Raphael (1483-1520) re-entered the coterie of artists and patricians which assembled at leisure hours in the house of Baccio d’Agnolo, the architect who was then supervising so many new buildings. Here [in his early 20’s] he met Sansovino, Lippi, Cronaca, Majani, Granacci, the San Galli and the great [Michael] Angelo, and listened with deep interest to their discussions about the principles of art. Through his intimacy with certain wealthy merchants and nobles, he secured several orders for portraits – the best of which were those of the art patron Angelo Doni and Maddalena his wife. These are now in the Pitti Palace, and show warm coloring and careful finish combined with poor drawing and timid execution. Raphael next painted the celebrated Madonna del Cardellino, or Virgin of the Goldfinch, as a wedding present for his friend Nasi, a frequenter of Agnolo’s symposia. The Virgin is shown as seated in a graceful landscape looking with unspeakable tenderness at the infant Jesus who is about to caress a goldfinch held by St John. This picture was sacredly preserved until the fall of the Nasi Palace in 1547, when it was broken in pieces. Carefully repaired and restored, it now forms one of the chief ornaments of the Uffizi Tribune.