Tag Archives: monoprint

Tuesday, 4/25/11: Liz Walker

Liz Walker brought her creative energy to Muse today to work on an acrylic painting with elements of printmaking and collage.   Liz likes to bring a lot of pattern and texture into her paintings and tries to avoid large areas of plain solid colors.  Along with her paints and brushes, Liz brought some paper scraps and wallpaper and fabric swatches with her.  She cut and painted small pieces of paper and collaged them into her painting to add a bit of texture and dimension to the pillows on the couch.  She used the texture of the wallpaper and fabric pieces to print and stamp patterns onto her painting with contrasting colors of paint.  To get the blended and scumbled look she likes, Liz says she’s also been incorporating more gray tones and neutrals into her paintings and juxtaposing them against brighter colors.

Liz enjoys painting figures in everyday settings.  The shapes and colors she chooses give her  scenes balance, order, and visual interest that would work equally well as abstract compositions.  “I work from chaos to order,” Liz says as she builds the layers of her painting.  She finds that getting started with a painting is the easy part, but proceeding to the point of knowing when and how to finish is the real challenge.

Liz teaches beginning watercolor painting as well as acrylic monotype at Multnomah Arts Center and Village Gallery of Arts.  In addition to the An Artist A Day event this month, she is participating in an upcoming show at the Village Gallery of Arts in which 100 artists will exhibit four 6×6 paintings.  More of her work can be seen on her website, lizwalkerart.com.

Click on thumbnails to see larger pictures.

Friday, 4/8/11: Jenn Feeney

Jenn, who has primarily worked in printmaking in recent years, painted with acrylics today.  Her prints, mostly monotypes or “painterly prints” are colorful, multilayered abstract compositions. (jennfeeney.com).  Now that she’s spending more time painting with acrylics, and sometimes oils, she finds that her paintings are usually in a more representational style.

Printmaking is a very process-oriented art form, often involving experimentation and accidental discoveries.  Although Jenn’s process when painting is intuitive and not entirely planned in advance, she does find that her paintings start with more of a specific idea and follow certain steps to reach a look that she has in mind.  Her painting today was inspired by some art installations she saw a couple of years ago.  She had taken pictures of some objects and sculptures she liked and saved them thinking she’d create her own art piece sometime with some of the forms and textures that she was drawn to in the installations.  In addition to reimagining her subject  by combining ideas from different installation pieces, Jenn brought her characteristic vivid palette to her painting, using some of her favorite warm yellows, oranges, and bright greens.  She started with a charcoal outline on a wooden panel, then built up thin layers of color, using acrylic glazing liquid mixed with her paints.  Her use of transparent layers give her painting depth and luminosity, qualities that are not always seen in acrylic paintings.

The last picture below shows Jenn’s painting at the end of the day Friday.  She will continue to build add layers of color and detail to complete her painting.  UPDATE:  The final picture shows Jenn’s finished painting.  Visit anartistaday.com for information about bidding on this piece.

Click on thumbnails to see larger pictures.

Monday, 4/4/11: Kimberly Kent

Thanks to guest writer Mesha Koczian for today’s post

Encaustic art  is painting or sculpting with heated wax. Encaustic painting uses using wax mixed with pigments as paint. Kimberly Kent is an encaustic painter; she has 15 years experience and decided to demonstrate her skills by painting a cherry blossom scene using a technique called monotype. Monotype is performed by painting on a hot aluminum surface and placing rice paper on top to absorb the pigment. The paper is peeled off to create the  first “print” or monotype, then paint can be added or reworked again on the heated surface. Kimberly did this 4 times until the image transferred to the paper was what she called a “ghost,” or what’s left of the pigment on the surface.

Kimberly wanted a look of layered colors so after she made a number of monotypes, she began painting on a wooden panel to which  she would later add one of her monotypes.  Her panel was primed with R&F encaustic gesso, a primer especially made for encaustic paint because it is absorbent and textured enough to “grab” onto the wax. Kimberly used R&F paint blocks and watercolor crayons for the painting and PanPastels for the background color on her gessoed board. After the PanPastels (powdered pastels in a cake form) were put down, she coated the board in wax by pouring it. If she had brushed the wax on, the brush would have smeared the pastels. She prefers to do an underpainting using watercolors, but the painting would have to sit out overnight to be able to set well with the wax. A heat gun or torch is used to smooth the first layer of wax, but if too much heat is applied, the gesso could blister. An iron can be used to smooth out the wax without blistering the gesso.  Kimberly placed the monotype on the surface in the desired position and used a heat gun to fuse the wax in the paper to the wax on the board. A torch or iron cannot be used here because they would burn the paper or smear and rip it. Additional layers of wax and pigments are added to blend the paper into the background, creating a lovely scene of spring.

Click on thumbnails to see larger pictures.

Saturday, 4/24/10: Diane Rios

Thanks to guest writer Sera Stanton for today’s post.

Stenciling is well-known among graffiti and street artists, but isn’t seen a lot in fine art. Diane Rios’ piece stood out today with her multi-layered stenciling technique. Taught to her by Long Beach artist Victor Gastelum, stenciling is Diane’s favorite medium. She was originally inspired by elegant political posters she saw when she was a student in France, but has been living in and inspired by Oregon for years.

Animals, nature and the beauty of architecture stir Diane as a person and artist. She makes the animals in her work relatable to humans, in hopes that humans can identify and respond to animals as an individual, perhaps even learn from them. The serene appearance of her work easily communicates her goals.

Today was the first time Diane had stenciled on canvas. She said she liked the texture it added to the piece and was excited to try it again. On the canvas were three beautifully rendered horses consisting of three main colors and seven layers of paint. Diane’s process was to draw an original sketch and make as many photocopies of the drawing that she planned on having layers, with a few extras in case of mistakes. Non-archival paper was used for the photocopies – “The stencils stay nice for years as long as you lay them flat and don’t put anything on them while they’re wet,” Diane says. She then cuts through the paper where she wants the paint to come through and sprays each layer on top of the other from the base up, waiting for the previous layer to dry before she puts the next one on. Diane likes to add texture by splattering some of the paint across the canvas. In this case, it was a silver paint on a grey horse, which lit up the piece in the light. The way she puts the paint on her canvas is light and careful, with almost no overspray.

Aside from stencils, Diane enjoys drawings, watercolors and monotypes. Right now she is working on a children’s book about a hound dog that wants to be a photographer. Although working at Powell’s takes up a lot of her time, Diane would love to start illustrating magazines and children’s books more often in the future.

Tuesday, April 28: Kimberly Kent

To start today’s encaustic painting, Kimberly had already prepared her panel with a watercolor monoprint, made by pressing a single print onto paper after painting with watercolor on plexiglass.  The monoprint served as the underpainting for layers of translucent encaustic paints.
Encaustic paints consist of beeswax, tree resin, and pigment.  They are applied in a melted form, and cooled layers must be reheated for each new layer to adhere to the last. Kimberly used a wide brush to apply multiple layers of clear encaustic medium (wax and resin with no pigment) over her print.  She used a heat gun and a torch to fuse each layer together.
Over the clear layers, Kimberly painted with encaustic paints to add color and details.  She used a variety of tools and brushes, depending on the size of the area she was covering and the size of the details.  In one area, the trees at the right side of the painting, she incised lines for branches and trunks, then applied a coat of colored wax, then scraped back much of the wax to leave the color in the low spots and incised lines.  She also rubbed oil paint onto the surface and wiped off the excess so that the color stayed in the small grooves and indentations.
After working with details in some areas and broader areas of color in some areas, Kimberly had built layers over her whole piece to create a richly colored Mount Hood landscape with foothills and reflections in water.

Tuesday, April 7: Linda Womack

Linda’s medium is encaustic painting, an ancient technique that is experiencing a big resurgence.  All paints contain pigment and some type of substance that holds the pigment together:  oil paints use linseed or walnut oil, acrylic paints use acrylic polymer, and encaustics use beeswax (along with some resin to make the wax more durable).
Linda has written a great book about encaustic painting and teaches many workshops.  Those who were lucky enough to come by and watch her work were treated to a free ongoing lecture-demonstration about the techniques and materials of encaustic painting!
For today’s piece, Linda collaborated with Marcy Baker, who had created a monoprint that Linda used as a first layer of her painting.  After adhering Marcy’s work to a panel, Linda built up layers of encaustic paint to add color, details, and texture.  Encaustics are a very versatile medium, allowing collage elements, scratching/scraping/carving, adding color, removing color, and application with a variety of tools.  The transparency of the wax is ideal for layered effects and visual depth.
Linda brought a whole arsenal of specialized tools, including a griddle to use as a hot palette, a torch to melt and fuse layers, and a variety of instruments to incise lines, scrape in textures, and carve away wax.
Even while providing continuous educational commentary as she worked, Linda was able to complete her piece in an afternoon.  The final picture captures the color and composition, but it’s another one that you need to see in person to really appreciate the depth and layering.

Additional note:  Remember that you can find more information about all our artists, links to their website, and more pictures of their work through the Artist Schedule on AnArtistADay.com.  Click on the “return to AnArtistADay.com” link on the right side of this page.