In the swing of it...

Keep pulling.

Monotypes need to be pulled.

This is the essence of the process.

Each pull reveals a mix of planning and surprise

which is both exciting and frustrating.

For each successful finish there can be lots of rejects.   

My overworked pulls make their way to the bin,

whereas the plain boring ones are placed

in a rack for a second reworked chance.

'Wildfire'

I am learning to sense when the monotype 

is going in the right direction.

Maybe it's an intuitive thing.  

Or it could be practice.

Either way, I am very pleased with my 

saved monotypes and some will find 

their way to art exhibitions this year.

 

'Flashpoint'

I work each day for short sessions

so my print room is getting full of these pulls.

Each one is different by its nature and the 

name monotype which means 'one of a kind'.

Some are of similar colours and 'landscape' style;

others are abstract shapes and patterns.

They are made with Golden Open acrylics 

on A4 smooth white paper 200-300gsm weight.

'Heat'

As they dry I am putting them 

in a mount ready for framing

'Teal'

A mount really makes a difference..

It helps to isolate the piece from its surroundings.

Finally...

'Twilight'

That's all for now,

until next time 

Click to visit my website 

www.wildartdesigns.com

Putting on a jacket

A monotype in a coat...

Finishing a piece of artwork.

It's always good to see art in some kind of surround.

Even a simple piece gets a lift.

'Curious'

Monotype in a 12 x 16 inch mount

Now I shall consider fitting it in a black frame.

'Telling'

Another A4 monotype 

Photographed in my home today.

This image can be viewed both ways.

I like it when this happens as there

is a feeling of balance.

I resisted the temptation to fill in the white..

'Aspects'

A4 monotype pulled from a gel plate.

Golden Open Acrylics 

I decided to continue with 'pulls' in a limited colour palette.

They look interesting displayed together.

'Explore'

'Passing'

'Seeking'

The contrast between light and dark

gives them all a sense of drama.

'Passage'

Layers of 'pulls' made this final image.

Almost a landscape, there is mystery too.

Finally...

'Buff'

After a first layer of grey, 

Carbon black and buff titanium 

Golden Open acrylic was rolled on the gel plate.

I love the combination of colours.

That's all for now...

until next time 

Anne Wood 

www.wildartdesigns.com

Carrying on

Keeping calm...and pulling it off.

This is my continuing journey with monotypes.

'Swathe'

I am using Golden Open acrylics and gel plates.

When the paper is pressed down and then 

pulled from the plate it is allowed to dry.

Further mark-making with a modified process 

is what completes the picture.

My work tools are:

A range of colours in Golden Open Acrylics 

 A4 200-300gsm paper 

Gel Plates in various sizes

Soft Brayers in various sizes 

Qtips for 'drawing' into the paint 

Stencil/marking materials 

Baren for pressing/smoothing 

Wet wipes for clean up

Kitchen paper 

Table & trolley for materials 

~

I like to do my printing in short sessions as

this helps to prevent overworking the piece.

'Sunny'

It also gives the acrylics time to dry on the paper 

before I apply more paint.

Golden Open have a slightly longer drying time

which is helpful when working on the gel plate.

'Mellow'

Ideas for the mark-making come as I work.

Seeing the image on the first pulled print will often 

give a suggestion of where I shall take the composition.

Although these pieces are monotypes, (one of a kind)

pulled from a plate, this usually has several 

more pulls or part-pulls with different colours.

'Pole'

Manipulating the paper is part of my process.

Rather than press down the whole sheet

I create the design by letting the paper

 touch the plate only where I want the marks.  

Each mark made will often pave the way for the next.

'Hiding'

At first I wondered about making the pictures purely geometric 

or as sketch 'drawings' rather than abstract 'landscapes'.

However, I decided to stay with my natural

style which is painterly with loose abstract marks.

~

My work is done without a mechanical printing press.

I find the brayers and baren are sufficient 

for my needs when pressed down well.

'Pool'

Titles mostly come after the picture is finished.

I try to use one word and usually something 

in the picture will stand out for me.

'Strike'

The white marks gave me this title.

Colours and shapes gave this a sense of land and sea.

'Coast'

That's all for now...

until next time 

Anne Wood - Paintings 

www.wildartdesigns.com. 

Making progress

New marks...

Paper handling whilst pulling prints from the gel plate.

Here are some monotypes made today.

All using Golden Open acrylics on A4 smooth white paper.

I like layering the paint and positioning 

the paper on the gel plate to create the marks.

~

I am happy with the composition in this picture.

Horizontal and vertical with a warm background.

The golden marks were created without a stencil.

It gives me a feeling of freedom.

Sometimes I use a stencil or other mark-makers

but not too much.  I like the painterly effect.

'Meeting Point'

The next one has a stencil underneath 

the layers of transparent paint.

The filigree pattern contrasts with

the solid edge of the yellow on the right.

Overall it has a warm and cosy feeling.

'Glimmer'

This next one has a playful disposition.

It reminds me of my childhood.

A stencil was used on the left 

and another one underneath.

Softer marks on the right 

balance the design.

'Sweet Dreams'

More work was done here...

previously it had one deep blue circle.

I added some yellow and another offset paler blue circle.

It looks more painterly now.

'Blue Moon'

Something about this one reminds 

me of spring and tulips.

I love the composition with the red.

It's a happy picture.

'Red'

Working with acrylics is quite different to the inks.

At the moment I cannot decide which suits me the most.

I do like the drying of acrylics.

Maybe I shall try the inks again tomorrow.

That's all for now...

thank you for visiting.

www.wildartdesigns.com

Next move.

On to another medium...

Acrylics 

'Candy'

Acrylic on A4 paper 

My adventure with monotypes continues 

with a change to gel plates and slow drying acrylic paint.

The method is similar to using the Akua inks and the

paper is hand pulled after pressing with brayer and Baren.

One advantage is the dried finish.

The Akua inks have a slight greasy feel on my paper

whereas the acrylic dries completely.

Perhaps my ink monotypes will improve 

with a more absorbent cotton paper.

'Tea time'

I am using gel plates to roll the paint with 

my new soft Speedball brayers.

The paint is soft and easy to work with.

Drawing into the paint is easy with a QTip.

Lines and vessel shapes give some interest.

I also used a bit of stencil.

Rolling the paint thinly I pulled the prints quickly 

without too much consideration as

I wanted a loose abstract design.

These prints are all Golden Open Acrylics 

on a variety of papers from my cupboard.

'More tea?'

I like this mottled background 

with the sketched pots.

'Medley'

A kaleidoscope of colour here.

It reminds me of fabric.

'Have a red'

Printed on A4 smooth white paper.

I like the floaty pink shapes over the 

stronger coloured background 

'Draw the line'

A geometric effect with lines

'Tweed'

This is quite small...5x8 inches

on textured watercolour paper.

The candy pink gives a shot of contrast.

This printing project is becoming addictive,

it's really enjoyable and an antidote to lockdown.

I hope to post more over the weekend.

That's all for now,

until next time.

My website is here...click the picture to visit 

www.wildartdesigns.com

No stopping me

I'm on a roll...

My adventure with monotypes continues.

These are all made with Akua Intaglio inks on paper.

'Round Corners'

Monotype on writing paper.

I rolled green over the black ink to soften the image.

The walls in my print room feature the fruits of my work.

Many will be discarded but there are some

which could find their way into a mount and frame.

Making little books

I have several A5 notebooks with blank pages

which are ideal for rolling the excess inks.

When full they could be a piece of art in their own right.

A few favourite pieces from today

'Wheels within wheels'

Layers of inks add depth to this piece.

'Maze'

I like the marks in this one.

A ghost print in blue is underneath the

dull yellow and green which was scraped away in a spiral.

The incised lines add a 'narrative' interest.

'Embers'

The dark sides enclose a warm centre.

'Unstoppable'

Printed on A4 yellow craft paper 

this gives a grid-like effect.

Layers over a ghost image.

'All square'

I like the geometry in this image.

It is softened with the smudgy abstract marks.

'Fair View'

The marks give an impression of a landscape...

as if viewed through a window.

I like these unintended surprises.

Until next time,

thank you for visiting...

Click to visit my website 

Fresh Pastures

Printmaking 

This week I began a new journey in the world of Monotypes.

I sometimes use my oils and cold wax for printing on paper 

but I wanted to try Akua Intaglio inks for a change.

To do the job properly I made a new workplace as my 

studio tables are covered with new paintings in progress 

and there isn't a lot of space to use the inks.

So a spare bedroom has been transformed into a print room

where I can work in the warm comfort of the house.

A high table placed over the bed means I can work without

 bending over and a sheet of clear acrylic on the white top 

makes a good solid surface for rolling the inks.

I am using brayers, spatulas and squeegees for the ink,

 making marks, scrapes and impressions with found objects.

For some time I have wanted to experiment with printing

 but I don't really want to invest in a printing press just yet.

Hand rolling and firm pressure for my pulls will do for now.

I am using a Baren and large roller.

The first glimpse of my print is exciting as the ink 'pattern' 

is revealed and sometimes there 

are unexpected 'happy accidents'. 

Smooth paper gives a clear print whereas 

a textured paper is more 'hit and miss' when rolled by hand.

At present I am using any paper I have in the house

until my stocks arrive and it's interesting to see the results.

The nature of the soy-based Akua inks makes drying 

a slow process.  It doesn't evaporate...it soaks into 

an absorbent paper or fabric surface.

For now I am in play mode,

experimenting and practicing with the materials.

I like the bright vibrant colours and making

 abstract shapes.   They are all drying on 

any available surfaces in my room.

I have already scrapped a lot of pulls and I'm sure 

many more will join them but here are some 

of my favourites for you to see.

I have given them titles too...

'Did someone say Tattoo?'

Printed on lightly textured white A5 writing paper 

'Feathering the Nest'

Printed on lightly textured cream writing paper 

'Blue Gems'

Printed on lightly textured cream writing paper 

'Moonraker'

A4 300gsm smooth white paper 

'Paint the Town'

A4 300gsm smooth white paper

'Exciting Times'

A4 300gsm smooth white paper 

'Attention Seeker'

Akua Intaglio inks on A4 300gsm smooth white paper 

I like the depth in this one...

the soft violet background with 

two patches of colour vying for first place.

The red is demanding attention.

That's all for now,

until next time.

Thank you for visiting.

Anne Wood Paintings 

www.wildartdesigns.com