I published a newsletter with dates for upcoming Spring art festivals that includes a coupon code for 20% off in my Etsy Shop, so be sure to check that out here. (If you’re not yet subscribed to get newsletters, you can sign up here.)
Thanks for all the great feedback on the last post regarding artists being unkind to each other. I’m grateful that it was received well, and the topic instigated conversation in the comments, via emails and on social media. I suspect we are all hardwired to be critical, but with practice, maybe we can evolve our first-tier reactions to be supportive instead.
I’ve got a video in the works that demonstrates a trace monotype focused on little-to-no drawing skills, and no press necessary to make a lovely print. I’ll be filming the last portion of it this week, and I hope to post it on my youtube channel next week. Stay tuned for a fun printmaking tutorial. 🙂
In dark field monotype printmaking, the process is sometimes referred to as carving the ink away to get to the light. I haven’t carved anything in three dimensions since a college course on sculpting clay, but I admire sculptors’ ability to transform a block of clay, stone or wood into a beautiful, touchable, evocative 3-d artwork.
In this week’s #linklove post (#15 in the series), I’m sharing an amazing video of British sculptor Guy Reid’s process of photographing his subject, Andrew, and then carving a clunky block of limewood into a gorgeous portrait of the man that is so absolutely wonderful, I’m certain you’ll be inspired. If you watch it, tell me what you think in the comments. His process fascinates me.
Colour is a secondary thing in art; form is essential. Colour exists only by virtue of light; form is eternal.. Yet colour remains the most expressive agent the artist employs and the most flexible.
~Walter J. Phillips (Printmaker, 1884-1963)