monotype print

I get super motivated by taking classes. I dive in and try to learn as much as I can.  I must confess, I even pre-learn, research and test out techniques before class even starts.

This year I took a ModernMarbling class, with CynthiaMcGuirl.

Then I enjoyed a Japanese woodblock printing class this with artist and teacher Lisa Houck.

A dropped in on a couple of figure drawing sessions at Essex Art Center.

And most recently, I participated in the online class Translating Landscapes, with Antia Lehmann.

Sometimes that the prints that I make in these classes just get filed away or tossed durning my next purging session.  But the process is what I keep.

The process of:

• developing dynamic images
• learning to think differently
• fix problems/mistakes in new ways
• identifying my strengths and interests

I hope to bring those ideas and more back to my own practice.

So as the most recently landscape class ends I played with new tools and the gelatin plate to make some abstract landscapes. I am pretty pleased.

If you are like me and need an art class, then check out the current online classes being offered.

1 – Simplify your palette to 2 or 3 colors.

When you limit your choices you have to get creative to make your prints work. A limited color palette will quite the chaos and enable you to create focus more easily.

Try it for a week! Make sure you include a very dark value color like cyan or black.

2 – Leave your palette out and set up.

This works for me. I use the speedball water based block printing inks, so I can “refresh” them and a more ink to the palette as needed. If you use acrylic paint you could leave the tools out, but you would have to clean up the paints each time.

The goal is to leave things set up, there by removing any barriers to beginning.

The more you print the better your prints become.

3 – Work in a standard size paper.

This one took me a few years to figure out. I would end up with a few pleasing prints but they would stay in the flat file because they could not be easily framed.

If you would in a standard size then it is easy to find a mat and frame that completes your piece. I cut my print paper to 4″ x 6″, 5″ x 7″, 8″ x 10″. Try it out for a while and see how this works for you.

4- Embrace the idea that it is a very experimental monotype printing process.

Play with printmaking. I try to remind myself to embrace the unpredictable characteristics of gelatin printmaking.

I remember that this method of printmaking is great for texture and shape. And that delicate line can be a challenge.

So if you are struggling with your gelatin prints, ask: “Am I expecting something from the process that is incongruent with the nature of gelatin printmaking?”

Then make it easier and more enjoyable and get back to the nature of gelatin printmaking

If you would like a little help with your gelatin print process, the check out the current workshops.

It is always fun for me to sift through the pile of prints that I have made over the past year. I can quickly see all the skills that I played with.

If you have a pile of prints with potential, then you might want to turn some of them into printed gifts.

Sometimes they just need:

• a little mark that pulls focus
• a collage of several prints or
• just simplify and focus

In the online class, Printed Gifts you will transform your piles of prints with potential into finished pieces.

Check out the details on the printmaking workshop page.

I love to give little surprise gifts.

Need help with making printed gifts? Check out the online course – Printed Gifts and join us today.

These little treasures can be a simple as a card or a small piece of artwork.

When we share our art, we share a bit of ourselves. That can be a bit scary. What if it is rejected or not   well received?

I just let go of that fear and give the gift anyway.

I would love to share with you a tutorial on how to make origami boxes from gel prints, book pages or other papers. Click over to the FREE tutorial page and start folding some cute little boxes.

 

I recently attended a week long Yoga retreat.

Ahhhhh………  Or is it Ommmmm. 🙂

I came back to the studio alive and renewed. And the things that helped that to happen were pretty simple.

• Take gentle walks often
• Listen to my gut
• Breathe to align my body

These 3 things feed my art practice as well as my healthy body.

Walks

I always get ideas and clear focus when I take a walk. I get:

• Photos that inspire stencils
• New energy that lets me shed critical judgements
• Ideas for new classes from the scenery

Listen to my Gut

This one can be common sense, but sometimes we get lost analyzing thoughts, or seeking advice from others.

We can listen to our “gut” on a physical level or on a mental level.

Way’s to listen to your artist’s gut:

• Make a mess
• Stop and call a piece done after just a couple of marks
• Take the class that you have be dreaming about
• Let go of old supplies or work that is weighing you down

Breathe to align

This insight was kind of specific to my yoga retreat, but I think I can still make an art analogy.

The breath is always there.

Hence it could be a great anchor to what is right in front of you right now.

Three ways the breath could align you with your art practice:

• Use an intentional inhale to step away from your piece and admire it
• Use a big sighing exhale as you finish a step – acknowledge your efforts
• If you are stumped and do not know how to proceed, maybe notice whether or not you are breathing in a way that brings in new ideas.

Happy Printing!

Need a class?

Check out the current online printmaking classes