First, a Word – Then a Monotype
We’re approaching Christmas. This could signal time with extended family, gifts to wrap and unwrap, and hopefully, a morning lounging with a plate of waffles while still in your pajamas. There may not be a lot of art-making this week, but you can still think about art, right? Or maybe distribute paper and pencils to everyone after dinner, set a timer, and draw each other’s faces. Jot down ideas for your future art projects. Grab an artsy friend or visiting family member and head to a museum or a gallery. How about watching an art documentary (with popcorn), or reading a biography on an artist you admire? Try listening to a podcast focused on interviews with artists. This type of art-flavored activity can be the grout around your creative time later. And it’s all fun.
Imagine a special (cute) cupboard in your brain reserved for planning and getting excited about the art you’ll create in the new year…. what’s in there? Until we start to pull art supplies out to make that happen, I wish you a very Merry Christmas.
Building a Light Field Monotype
We Interrupt This Program…
Have Faith, Printmaker!
To quell my monotype fretting, I called the folks at Akua and asked about my air-dried-for-days ink dilemma. They assured me that the ink was still wet, and I’d be able to pull the monotype. They said the ink might be a little thicker after weeks of air-drying, but it was still good to go, because the pigments can’t absorb into the plexiglass. While talking to them on the phone, I reached over and pressed a finger into a blue shadow, and voila, I had a blueberry fingertip. I pulled out and examined my modifiers, and at Akua’s suggestion, I rolled a single, thin layer of Extender over the entire plate with a brayer just before I printed it.
When in Doubt, Research
So, even after weeks in my warm studio (I live in California), the ink on my monotype was still wet, and it printed. I was amazed to see how much pigment transferred to the paper when I pulled the print. And wonder-of-wonders, the loosey-juicey mark-making I was hoping for also transferred to the paper, giving the monotype a first cousin of painterly goodness. Once Akua ink is on an absorptive surface, it dries quickly, so this print was dry in one day. The lesson for me on this monotype – well, there were two lessons – was 1) maybe start larger projects after the holidays, and 2) when the properties of an art supply are unknown, call the manufacturer and ask them about it. Real world questions, relayed to the manufacturer directly from the artist, are almost always welcome. They make the stuff, and have certainly tested stuff, but perhaps not exactly in the same way you and I use the stuff. Capiche?
Thanks for stopping by and I’ll see you in the next post!
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When I was in art school, one of my fellow students painted a series of dead fish. She had seen one of Manet’s oil still life paintings of a fish on a platter, and it triggered an explosion of inspiration. My friend went to the market and bought dozens of fish. She painted them frozen, thawed, in piles, on newspaper, in jars, lying on the table, and in frying pans. She reveled in their shimmery scales and slippery textures for weeks on end, and her apartment smelled like the town dump. I was envious beyond description. It wasn’t that I wanted to paint fish or flies; I just wanted to find something that I felt that passionate about to paint.
At the time, I knew I wanted to paint, but I didn’t know what I wanted to express. For several years I painted a shopping list of subject matter; still lifes, landscapes, flowers, nudes, animals and seascapes. Although most of the paintings found a home on someone’s wall, none of them were truly aligned with my most passionate feelings, simply because I didn’t know what those emotions were. Since then, I have found what it is that I feel strongly about, and my paintings look more like they are mine. Although I must admit that painting hasn’t gotten any easier, it has become even more engaging.
Mary Whyte ~ Painting Portraits & Figures in Watercolor