I’ve tried some monoprinting at home, simply using oil paints. I really love the quality of monoprint, and I think it fits very well with the theme of memory because of that ‘foggy’ lack of clarity that they suggest.
Monoprint on postcard
Monoprint on hand-made paper
Soft Pastel (bargain pack from Lidl!) on ingres paper
I had a ball in Lidl last week as they had artists’ materials on special offer. I managed to pick up a desk easel (FSC wood) for less than a tenner, and it’s perfectly good quality and a nice simple design. I also bought these pastels, which are a bit gritty to use, but perfectly OK for practising. This is a study for a painting which is currently on the easel, background painted, composition sketched in oil pastel, and ready to paint.
Oil on Canvas
My objective with this painting was to start using oil paints on canvas. I’ve mainly been using acrylic paints, and these behave quite differently. I can splash acrylics about in large quantities as the paint is quite sloppy and comes in big tubs. Oil paint comes in tubes and is thicker. I haven’t learned how to loosen it up – partly because I’m using Artisan water-mixable oil paints, and they do behave a bit strangely. I wanted to avoid using turps if possible, but I’m not sure the experiment is working. I’ll persevere until the tubes are used up, and then decide whether to continue with them.
Because of the difference in consistency, and because I mentally think of oil paint as more expensive, I find I’m working much more conservatively with it. I paint more slowly, partly because I’m getting used to the feel of the paint. I think this makes the painting less lively, but it is perhaps a more contemplative painting as a result. I’m struggling with proportions and need to do much more figure drawing, but I am enjoying painting figuratively. I never thought I would.
I’ve been reading about Paula Rego, and have become quite fascinated with the way she works with narrative. Her pictures are carefully crafted to tell a story, and the stories are usually slightly uncanny creating a sense of discomfort. I love her drawing, which is bold and confident. I’d love to be able to draw that confidently.
Acrylic on card, just under 3ft by 4ft
I painted this a few weeks ago at college. I wanted to see whether I could work as well at college as I can at home. I learned that I cannot! College is a wonderful, lively, vibrant environment, but I’m learning that I need peace and quiet to paint. I need to be able to sit for hours just gazing at the painting. I’ll then suddenly work out what it needs, and get up and work quite fast to make the changes. This is actually quite unfortunate, as I’d prefer to make a mess at college than in my spare room! But I do think it is important to learn to recognise our own creative processes and the environments where we do our best work. Anyway, just for the record here is the painting that I did at college. I think it is lumpy and constrained compared to Ring o Roses. It’s not even finished – the card fell off the wall and curled at the edges, so I can’t put it back up to finish it. Time to get on with making my canvas!
Chine colle print of doll’s dress with drypoint etching. I’m experimenting with using chine colle to layer images of childhood.
Another drypoint etching. The title refers to the pansy (yes, it is a pansy!) in the child’s hand.
I’m taking advantage of the half-term break to catch up with myself. This is one of a series of drypoint etchings based on my sketches from childhood photographs. I’ve used sepia ink because of its ability to instantly make something look old. I love this colour ink. I have a lot still to learn about drypoint – the first lesson being to take more ink off on the first printing so that I can see the marks clearly. (Although I do quite like the sense of atmosphere created by the ink left on the plate.)
Drypoint etching, using that wonderful card that you can crinkle to make creases.
My intentions for this painting were to play with textures, and to paint a face (just to prove whether I can or not). I created the ‘woods’ in the background by applying strips of fabric, tissue paper and newspaper, covering all this with white emulsion (I’m economising) and then scraping acrylic paint over the top with a credit card. I also created texture in the foreground with tissue paper.
The face was a challenge! The lighting in the original photo is very dark, which is why I’ve used purples and the eyes look so dark. At least, as a fellow student commented, the whole thing does look cold!
Acrylic on cardboard, just under 3ft by 4ft.
Painted fast in sketchbook (acrylics).