Mixed Media and a Print

Mixed mono

When I create a monoprint on a Gelli Plate I mat the finished print leaving a 3/4 inch border around all four edges. However, with this print, I trimmed the paper right to the edge of the image and therefore couldn't mat the print without losing a good deal of the image area.

Instead, I chose to glue the print to a cradle board and build from there. I gessoed the cradle board (8" x 8"), then adhered the print using Golden's Soft Gel Gloss. I spread the gel thinly over the entire board, placed the image on top, then, wth a piece of waxed paper on top of the image to protect it, I worked a brayer back and forth gently to ensure good adhesion.

I then put low tack painters tape over the entire image to protect it and then smoothly applied Golden's Light Molding Paste to create a raised border. (Remove tape before paste dries.).

Once the paste dried I washed Golden's new QOR Watercolors over the border to tone the color. I used a couple of different yellows and a soft blue. The watercolor tended to soak into the paste. Next, I taped some vertical lines and used a sponge to dab on strips of blue acrylic in the upper right and green acrylic in the lower left of the border.

Finally, I used a 2B pencil to create a tree line and some shapes on the horizon. I dabbed some acrylic highlight colors into the tree foliage and the horizon shapes…and I considered it a day!

I haven't varnished this, but you could. Just carefully apply a thin layer of gel medium over the entire surface (working gently so you don't disturb the graphite), then, when the gel is dry, varnish.

Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail

Picking Up and a New Start

A Letter HomeWow, March flew by. My solo show at the Parrott Gallery ran through the month of March and today it’s down and I’m picking up the unsold pieces, some to be displayed elsewhere, others to be stored for future shows. And I’m well underway with a new series of paintings, a little looser, a little different in color palette. Should be a lot of fun.

This painting “A Letter Home”; acrylic; graphite, charcoal; 40″ x 30″ sold at the show opening. The opening was enjoyable – lots of people, much conversation, people I hadn’t seen in years – and a couple of people cried when they looked at my paintings. Amazing how art can appeal on such an emotional level. And, by the way, they were sad tears, but good tears.

Couple of new directions for me in the next months. More later.

Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail

Drawing and Painting on the Same Canvas

Don't Ignore The WhisperIt used to be that when I wanted to draw with graphite or charcoal I worked on paper and framed the final image under glass. But lately, I’ve been working on stretched canvas, incorporating graphite and charcoal with acrylic then covering the completed image with a final coat of varnish. With no need to frame.

The process lets me work larger; gives me the opportunity to use graphite/charcoal which I love working with; and I can still add layers of color and texture which are so important to my work. The only downside to working like this is it sometimes becomes a step-by-step process where I create an interesting background to work with my concept, draw with graphite, then finish with acrylic. It can be difficult to work back into the background and around or over the graphite design – but hey, you just have to jump in and make the changes without fear if you think something’s not working.

This piece “Don’t Ignore the Whisper” is painted on a 24″ x 18″ gallery stretched canvas. I started with a color plan; worked the background with various layers of color and texture (texture meaning gel medium or visual texture created with the paint or a shop towel), then the canvas is covered with a thin layer of TriArt’s dry media ground. When the ground dried, I created the pencil drawing.

The dry media ground is much coarser than most papers so it eats up graphite. It also can make harder grades of pencil appear like softer grades simply by grabbing more of the graphite. Try a sample piece first if the pencil grade is important to you.

When I felt the drawing complete, I topped the canvas with a layer of gloss gel medium, let it dry, then proceeded to paint, mostly with knives and cut stamps. Also note the dark scratches at the bottom of the painting. For these I took a razor blade and scratched into the gel medium then dusted some charcoal into the incisions. The painting gets another layer of gloss gel medium then topped with a layer or two of acrylic varnish (matte for me) and it’s done.

Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail

Furniture Becomes Canvas


It pays to do a good cleanout once in a while. Deep in the rafters of my garage I found a few pieces of small, unpainted wood furniture I've picked up at various decorative painting shows across Canada and the U.S.

I like the unpainted furniture – I can jump right in with a ground and paint. No need to treat or repair an existing surface like most of the wood pieces I pick up at flea markets. And there's a bit of physicality in painting 3D pieces – sometimes you lie on the floor, sometimes you paint upside down, it's a change from painting on canvas at an easel.

This piece, a contemporary cabinet about 40 inches tall, was ready to go and just begged for a whimsical treatment. Working with acrylic paint, collage, graphite and charcoal, I aimed for a loose look of line and shape.

The background colors are layers of acrylic paint sandwiched between layers of gloss gel medium. I worked with liquid acrylics, mostly transparent and alternated those layers with some layers of gel medium and some of opaque colors (transparents mixed with white gesso). I find this layering process exciting – I never know what I'll end up with. And I stop only when I think I need to stop.

In the 90s I spent much of my time creating block prints and screen prints. I kept the rejects…just in case. And now I'm making use of them for collage. The flowers in this piece are torn sections from water-based screen prints. I did a rough pencil sketch first to determine shape placement then glued all the paper bits down with gloss gel medium. I also applied another layer of gloss gel on top of the glued-down pieces. I believe in over-kill.

Next step was to slather a thin layer of Tri-Art Dry Media Ground over the entire cabinet making the surface gritty and receptive to graphite and charcoal. I scooped up a bit of the ground, plopped it onto the surface, then spread the stuff thinly using an old credit card or hotel room key. It's important to keep the medium thin 'cause it leans towards opacity.

Once the medium dried, I went to work with graphite and charcoal. The dark bars at the top of the cabinet are graphite. I own many rolls of tape of varying widths and I use that tape to create random "fences". Using graphite on dry media ground isn't the same as using graphite on paper. The gritty ground chews up the graphite and, while you can get some variations of value, most of the graphite grades end up looking like similar values and intensities. I blend the graphite/charcoal using shop towels.

Now here's the important part. The surface needs to be sealed before varnishing or the graphite/charcoal will bleed. You can use a spray fixative, but, since I work in a small somewhat air-tight studio, I prefer to use gel medium as a sealer. Scoop the gloss gel medium onto the surface gently, then, with deliberate motions, spread out the gel with your palette knife. This step requires patience to avoid smudging the graphite but it works well.

Once the gel has dried, the piece is ready to be varnished. My standard varnish, the one I'm successful with,  is Liquitex Matte Acrylic Varnish. Can't vouch for any other type of varnish.

I'm calling this piece finished (but just don't look inside the drawers).

Share this post:FacebooktwitterpinterestmailFacebooktwitterpinterestmail