Dragging in encaustic monotype

 Dragging is an interesting technique  in encaustic  monotype. 

•  apply a design to the hot palette ( I use Rand  F palette) using pigmented encaustic ( I use R and F)
• place your paper on top of the design and use a barren to ensure all the encaustic is absorbed into the paper; experiment with various types of paper
•  take two corners of the paper and drag the paper in a circular motion.  It is a very random act and you don't know what will happen to the original design. It is also interesting to drag vertically or horizontally or in partial circles. 
•  clean your palette and  apply a second colour in places ( I like metallics for this step) and place the same print down again to pick up a second layer by dragging
•   repeat this step several times adding more visual information to the original monotype. 

Reading layers

In response to the last post Kathy noted that:
art primarily deals with "spaces in between." That is, we all observe what's around us and use it to inform our art, but we have to find connections that aren't obvious in order to make our work meaningful. Those "connections" occur somewhere between the realm of reality and our imaginations. Those are what I would call the "spaces in between." there is a space between our original perception of reality and how we represent this in our work.

It seems there are many" in between" spaces in art. A common one is the use of layers to build up a painting. There is also the use of negative space as a compositional device. Tanja Softic uses both in her work.

Morning over there (2008) 15 x 36 in. acrylic, graphite, chalk on paper mounted on board

Last year I was excited to find the work of Tanja Softic as I was researching various artists who cite memory as a driving force in their work. Since that time I've visited her website several times and each time I come away with new insights into her work.

Tanja is an associate professor of art at The University of Richmond, but she was raised in Sarajevo, Yugoslavia. While she was earning her MFA in the United States, war broke out in her homeland permanently changing the pattern of her life.

In her words:

My work addresses factors of cultural hybridity that shape the identity and world view of an immigrant: exile, longing, translation, and memory.

.....The visual vocabulary of my drawings and prints suggests a displaced existence: fragmented memories, adaptation, revival, and transformation. Because I do not live and work within the comfort or boundaries of the culture in which I first learned to observe, interpret and engage the world, I have the arguable privilege of having lived more than one life. My memory is my virtual self and, paradoxically, my most authentic self.

Her references to memory as a "process that involves erosions and accretions" strikes a cord with me as I construct my paintings for Reading a Garden 18 months after my two week stay in Birr Castle Demesne. I am amazed at how quickly I forget specific details and how easily I embellish others and believe them to be true. Softic sums it up well.

" Re-membering becomes an act of reconstruction, where one works with what is there and tries to visualize what has been lost.

The images in Softic's more recent works suggest what Said called "an awareness of simultaneous dimensions." The maps and star charts represent conventional interpretations of distance and scale. Softic says:

I am interested in what they may become, layered upon each other, in visual conversations with other elements in the drawing. In Migrant Universe, the drawings function as re-arrangeable continuum of maps, landscapes and portraits of memory and identity.

The map of what happened below is part of the Mirgrant Universe series.

The map of what happened (2008) acrylic, chalk, graphite on paper on board 60 x 120

Nomad's polyphony (2004) 42 x 108 in. acrylic, charcoal, chalk on handmade paper

While I have found several different bodies ofSoftic's work and critical discussion of it, I was first attracted to the pods, orchid blooms and shells mixed with body organs and bones all juxtaposed with geometric shapes and architectural details.

Allegory of time (2000) 58 x 52 in. acrylic, charcoal, chalk on paper

The layers are complex but negative space exists within and top of the surface which has the ability to both calm and command the viewer. Her work has a dreamlike quality that provides a sense of past and present displayed together. Drawing and printmaking allow her to build up layers of subtle colour and texture. I like the way some of the objects recur in varying combinations throughout different works. David Bickman 2003 noted that "She combines the skill of a medical or botanical illustrator with the soul of a poet to make extremely detailed drawings that are nothing if not evocative."

Porous histories (2005) 15 x 48 in. etching and mezzotint

Perhaps you would like to look at the work of my friend, Catherine Beaudette, who has a summer home in Duntara near where we live. Catherine teaches at Ontario College of of Art and Design. Look at her Recent Works and read her artist statement. You will see why.

Paper Lithography/Gum Arabic Transfers

Gum Arabic transfer which is also know as paper lithography or xerox lithography is a quick way to make prints. Your paper photocopy actually becomes your plate when the gum arabic interacts with the toner and raises it slightly off the paper. You can get two or three transfers from one photocopy if you are careful in your plate preparations. If you want several copies of the same print it is a good idea to have more than one photocopy ready.

The following instructions are a combination of what I learned from my recent workshop and research on the topic. There is always more than one way to accomplish what you want. Experimentation is key in finding your own way.

Materials
black and white photocopy of an image (heat set type)
oil based printing ink
gum arabic in a small plastic container
several disposable sponges for water and gum arabic
paper towel to blot up excess water
soft brayer to roll on ink
light weight paper to print on
plexiglas plate that is at least 3-4 inches bigger than the image
printing press, barren or wooden spoon
newsprint to absorb ink when printing


Step 1
Prepare your ink. Squirt out a small amount and work it with the brayer until it is well blended. The ink should roll smoothly and not be too tacky. You may need to add Miracle Gel or Easy Wipe to get ink to the right consistency. Mix only enough ink for one print at a time because it gets contaminated with paper fibres and gum arabic.

Step 2
Coat an area of the plexiglas plate with gum arabic and place the photocopy on top of this area with image facing up. If you have difficulty with wrinkling, lift up the photocopy and re-apply a small amount of gum arabic to plexiglas and lay the paper down in sections wiping it on the top with a sponge dipped in gum arabic to smooth out wrinkles . When the paper is fully adhered give it one final light coat of gum arabic.

Step 3
Gently roll a layer of ink over the photocopy that is attached to the plexiglas. It is not necessary to use a large amount of ink. Roll it gently being sure to cover all the darkest areas. Each time you reload the brayer, roll it on newsprint to remove any gum arabic that might be picked up from the photocopy.

I like to give the plate one consistent coat of ink and then remove the ink with a sponge and water. Some artists prefer to apply several very light coats of ink using water and a sponge to remove the ink between each coat. You will have to see what works best for you. Be aware that too many applications of ink followed by water to remove it will eventually break down the photocopy paper which is serving as your plate.

It is a good idea to photocopy on good quality paper, 20 or 24 pound weight. I am planning to try a transfer where I coat the back of the photocopy with gel medium and let it dry. I think this will help strengthen the paper. Working quickly is also important. Don't scrub the paper too vigorously when wiping off the ink because the paper can easily disintegrate. When the ink is removed from the light areas, blot extra water off the inked photocopy plate with paper towel or a dry sponge.

Step 4
Place a sheet of paper over the photocopy and either use a wooden spoon or baren to burnish it to transfer the image to the paper or use a printing press. I had the best results when using the press.

Step 5
If you want to start a new print, clean the roller and ink area and any additional ink that might have transferred to your work area or plexiglas plate. Start a new batch of ink. Baby oil or vegetable oil works well to clean up equipment and work areas.

Additional Suggestions:
High contrast images work best. Stay away for images that have a lot of mid tones.


This did not work at all because I didn't have enough ink on the plate and there were too many mid tones in the phot0.

While this was a fairly successful attempt, you can see that the mid section is lacking in contrast.

This print was not successful because there were too many dark tones and the rocks almost disappear. Of course, I can tear sections of it to use in mixed media work.

I considered this to be a successful print. It had good contrast and interesting lines. I later used it in an encaustic work. Stay tuned to see the final result.

This is my best attempt.

In workshop mode

I was one of a small group of artists from St. John's and surrounding area who climbed the long flight of stairs to St. Michael's Printshop this morning to find our welcoming instructor, Anita Singh, waiting for us. This was Day 2 of a 4 day workshop titled From Printmaking to Encaustic offered in conjunction with R & F Paints. Day 1 passed quickly as we investigated the trace monotype process. With a number of images under my belt from yesterday's work, I was eager to add to my stash of materials that would be used on Day 3 and 4 in encaustic explorations.

Jim Maunder and Bonnie Leyton share advice.
The plexiglass work tables no longer look quite so pristine.

Angela Antle and Carol Bajen-Gahm hard at it.
Angela learned to use a light touch while Carol already had acquired one.

Two happy artists.

And another one... Things must be going well.
Evelyn Peyton Murphy ties one one in red while the rest of us use boring Burnt Umber.


And the one who escaped my camera.... Tara Bryan.

It was a great day and the learning was exponential to the power of eight. Anita is still smiling but Louise Sutton looks a little fatigued.

Next post - Everything you ever wanted to know about Gum Arabic Transfers.

Exciting encaustic workshop

Our excitement knows no bounds. Our ducks are in a row, we made it happen! Fellow artist, Carol Bajen-Gahm - # 1 lead- and I are coordinating a printmaking and encaustic workshop in St. John's, Newfoundland. From August 28 to 31, 2009, Anita Singh, a local printmaker, and Laura Moriarty, encaustic artist and instructor with R & F Paints, will lead artists in a series of activities that begin with the production of prints using gun arabic transfers and trace monotypes and end with the use of these prints to develop various works in encaustic.

The printmaking activities will take place at St. Michael's Printshop, downtown St. John's, and we then move to Carol's studio in lovely Torbay, on the edge of the Atlantic Ocean, to do the encaustic portion. Additional details about this workshop can be found on the R & F Paints site. If you are interested in encaustic and want a great holiday destination, this is the workshop for you. Interest is high and half the seats are already taken.