Saturday, 14 March 2009
Last week's misshapen pastel sketches on printmaking paper did offer up a few insights into the next relief cut. But before I want to proceed to that, I thought I'd try again some more monotypes. I was keen on trying them out on a larger scale than the previous 20x15cm.
So, with all the courage I could muster this morning, I inked up an A3 sheet of acrylic paper - I had assumed that its preparation for acrylics would have prevented the oil paint I am using for printmaking to sink in, well - nice idea; in practice, though, the paint sunk in rather quickly; and for the next prints I just used one of the large laminated boards floating about in the studio - that worked perfect and provided a large enough surface to fill.
I started with monochromatic: the remainder of my tube of burnt umber was mixed with a bit of stand oil and turps and pasted onto the board; I then proceeded with various rounds of markmaking (knives, tissue paper, etc), adding and removing ink as I went along. Printed one, then another and another.
I've been doing a bit of systematic exploration of different papers, there's some I've been using a fair bit by now, but there was a new, very smooth, sized printmaking paper in brilliant white on the go today, (interim verdict: I LIKE IT); the trustworthy Tosa Shi (but too few sheets of it).
I like these sparse monotypes a lot, and on the larger scale they are fascinating: so extensive and yet very reasonable (!). In reverse, I am also reconciled with the composition - last week I initially thought it was weak, but no, it isn't. I moved to another one in colour. But that's next post.