When Evening Falls, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches
These are my latest prints, all accomplished during the all night Draw-A-Thon at Salmagundi Club last friday. It was such a fun night, even better to see such a great turn out of artists who worked through the night on figure drawings, portrait painting and monotypes. As with any monotype party at Salmagundi, I went into this all night event with a goal in mind. Get as many prints done as possible. A few days prior I was able to make a print per hour, so I figured I could do the same on this night, which would put it at a total of nine prints. But early in the night I could tell that it would be close to impossible, so I lowered the goal number to six. Mission accomplished!
Olivebridge Nocturne, 2016, monotype, image 6 x 8 inches, paper 8 1/2 x 11 inches
Not only did I go in with a number of prints I wanted to finish, but I also wanted to print with a warm black ink, something similar to what I had done on a previous print. After asking for advice I was told that the black ink I was looking for was a mixture of black and Van Dyck Brown. Not sure why I hadn't thought about it before but I was suggested that I should play around with different ink mixtures…again, why has it taken me two years to figure this out.
Colorado Hike, 2016, monotype, image 9 x 6 inches, paper 11 x 8 1/2 inches, Private Collection
I mixed Charbonnel Soft Black and Sepia and the two created this rich, deep, beautiful brown black which yielded these very moody prints. This was not the original color I intended to work with but I'm glad I arrived at it. I have been working continuosly with straight Sepia in the last six months that it was time for a change.
Tuscan Hills, 2016, monotype, image 6 x 9 inches, paper 8 1/2 x 11 inches
Changes are all around, I used to consider myself a painter but recently I added printmaker to my artist description on my Instagram account. It felt strange because this is still new but I know that making monotypes will remain a big part of work. The thing is that I'm also having a hard time with this because the monotypes are being well received by people, sometimes better than my paintings. I feel like I'm cheating on my painting and the new mistress is offering that something that was missing in the relationship. I'm not painting as much as I used to, to be honest it's sad to see the last few brushes I used either on the easel shelf or studio floor, abandoned and unclean.
Country Landscape, 2016, image 6 x 8 inches, paper 8 1/2 x 11 inches
The great thing about being an artist is that you are constantly evolving, growing, and one thing in your current work takes you to another idea or discipline, and eventually they all start communicating with each other. I know that these monotypes will eventually bring another layer to my painting, but for the moment they are not seeing eye to eye. Only time will tell if they will meet half way or will they keep on their separate ways.
Arbolado, 2016, monotype, image 8 x 6 inches, paper 11 x 8 1/2 inches