Oil Monoprints

Exploring the top shelves in the studio I found this oil monoprint that was made a number of years back. It's a refreshing technique and I look forward to using it again once our etching press is rescued out of storage and placed in a new building. The image is painted on metal plate and then run through an etching press onto damp paper.

I usually made a number of images from the same original image....take a print and then work back into the image in some manner....what results is a series that goes through sometimes subtle, and sometimes dramatic transformations. I only found this image from the series on the shelves, but that doesn't mean the 5 more aren't lurking beneath a few more layers of paper.

Listed today on Etsy.

Thanksgiving Day

October 12th...Thanksgiving Day in Canada....chilly and cloudy but the fall colours are intense. Here just a bit of red peeks through into the coniferous line. Small acrylic on gessoed paper, 7" x 6", listed on Etsy.

Most recently I've been painting a series of small 8" x 10" panels for the next Enormous Tiny Art Show at Nahcotta Gallery in Portsmouth, New Hampshire.

Nahcotta Gallery

My fascination with tiny art goes back a long way. I started making small things as a way to continue producing while teaching. I've always needed to finish the work in one sitting and it was possible to produce regularly even with an often demanding schedule. Beyond that, I also found that the small works were more open, contained more surprises, were more intuitive and free, and in many ways more intriguing overall. There is also something secretive about small work which is appealing...more can be said because it is whispered.

There is also something more democratic about tiny works. They are cheaper and really, anyone can afford a piece if they are interested. This opens up the market to those who are younger and just starting out, giving them more time to develop a strong sense of connoisseurship. Larger pieces need larger walls, putting restrictions both upon those who might buy and the artist who makes. Believe me it is easier to warehouse 400 tiny paintings than that number of larger canvases! You hold a tiny piece closer to your body and feel a sense of intimacy, and there are any number of places and ways it can be exhibited in any and all home environments.

I'll hold back the works for the Nahcotta until it is time to ship, but everything else goes directly into my shop. It has been my practice to avoid galleries for the past number of years because I enjoy the online selling experience a great deal. But I liked how Nahcotta was doing things and wish them great luck with their tiny art ventures....they are worth a look!

Pasture Hill

I walk by this pasture hill almost immediately after leaving my place. Often cows will graze right on to the top of the clearing. It's a mysterious place. The forest comes in thick very quickly, and gives the impression of proceeding on for miles. There is a path that cuts through, but the forest is also quite wild....lots of coyote chorus from this area at night.

A little 15 second sketch done on the paper that I always keep in my breast pocket for just such things....you never know when you will see something that asks to be painted. The pen sketch was done after coming home from work, about an hour before the early darkness falls, and there wasn't time to do the painting until next day after I finished teaching classes. I was working on the piece in the studio while an AP drawing student was completing works for the design piece outlined a few posts back.

Acrylic collage painting on paper, 10" x 8", listed on Etsy.

Late in the Day, September

11" x 10" acrylic collage painting, listed on Etsy. A late afternoon walk....but the darkness falls quickly now. The far green field was still brilliantly lit up, but within an hour, all will be dark.

September Yellow

I was struck by the intensity of the yellow bean fields in early September. They are rather brownish now, but there were a few days when the color was peak. 10" x 9" acrylic collage painting on paper, listed on Etsy.

Design

For some of my students, this will be a first assignment to deal with some elements of design, primarily positive and negative space.

1) The little pen sketch was done near my wood pile. I was looking at how the tree shapes also create shapes in the background. A good design must account for this balancing of shapes. The background shapes should always be considered. Students will be asked to produce a whole sheet of these thumbnail sketches, assess which ones might seem more successful, and then use the best ones for the basis of 3 painted works.

2) The paintings won't be overly large. Map all the shapes firmly with pencil, watching that you are aiming for a pleasing balance between positive and negative shapes. We will be in the small forest by the studio so it is important to base your designs on observation. It is quite thrilling when you are able to see your own observations about the world reflected in your artwork.

3) Count the colours. How many are there.....maybe 5 plus black India Ink line? Develop a colour scheme that has some range of light/dark, warm/cool, bright/grey and mix 5 acrylic colours for your composition....simply FILL in the colours. You are learning something about colour theory, and you are learning that the business of painting is, on a simple level, really about moving paint from one place to another. Move your paint with pleasure and effectiveness. Learn to do it easily. Be able to paint a sharp edge easily by mixing with appropriate amounts of water. Hold your brush in different manners to see how all this affects the way paint moves on the surface. WATCH the paint like a cat watches a mouse!

4) Work quickly so that you come to see yourself as effective....progress comes easily...this does not need to be a big struggle.

5) For our purposes here, mix all colours and watch that you are also looking at opacity so that the paint covers reasonably well. Avoid too much transparency.....mixing is required. Some pure colours will be too transparent without mixing.

Above Millbrook Trout Ponds

Here, I'm higher than the treetops of the forest below....looking far into the distance. Every so often, I feel the need for a stronger element of design in the work. In a series of 3 small works, all done in one sitting, only collage was used, without my customary painting stage at the end. Working only from memory rather than any visual aids, also allows for greater play with pure design.

Time seems very short these days so if I'm absent from here, please check for new work on Flickr and in my Etsy shop:

http://www.flickr.com/photos/paintbox1/