Tuesday, July 16, 2013
Monday, July 15, 2013
The gelatin print process is an interesting exercise in envisioning the result of various sequences of events. Mentally keeping track of the probable outcome of alternative catenations is a real trick. Because (naturally!) as the process unfolds in real time, who the heck has time to keep notes? Yeah, okay, hold on. What did I do first on this one? Oh ha. Best to just let 'er rip.
More monotypes are in the portfolio here.
Thursday, July 11, 2013
Wednesday, July 10, 2013
Here I chose a board that was lilac-toned and textured with random-directional strokes of the brush that I used to put on the ground. Next, I decided where the foreground/background ridge line was going to be -- where the tree is growing -- and put down a more radical texture below it, using wrinkled tissue paper and bright white ground.
I am not sure if this is a too-obvious use of texture. Yeah, that's supposed to suggest a grassy, weedy foreground. But not scream it. (And perhaps the background slope could have been less textur-y.) So we'll see how I end up liking this notion.
Wait! I wonder if this piece would benefit from some more radical cropping too. Hmmm. Take some of the bottom off and align the ridge line more at the one third mark. Lower in the frame.
Anyway! It was inspired by Donna Timm's wonderful red box, in this posting on WC.
Bonus! ---> The Road Lined with Trees, from Heirloom Philosophy
Saturday, July 6, 2013
My plan on this one was that the heavy texture would preclude any kind of fussy mark-making. That it would force me to be looser and freer.
Wrong. I kept dabbing and stabbing at it and fooling around with it all day yesterday until it wailed STOP. A lesson I need to learn is how to s-t-o-p.