This monotype was painted in watersoluble oils on Yupo watercolor paper, which
is really just a piece of white plastic rolled out very thin. It is fun to use this as
a support , because you can really see what your image will look like when printed -
except that it will be backwards of course, if you are using an etching press, which
I always do. -- This image is mostly done from memory. I rode up and down this
highway so many times that I can still see it clearly now, even though I was there
almost thirty years ago.
Thanks for visiting today.
This image was created by painting with Prang
watercolors, and drawing with Caran d'Ache
Neocolor Water-soluble crayons on frosted Mylar.
Then, after soaking a piece of Magnani white
printmaking paper, and blotting off all of the
standing water, I ran the two together through
an etching press. A plastic plate of roughly the
same dimensions as the print was used to shore
up the image and create more pressure and
create a platemark around it, which is clearly
visible in this picture.
This is a really fun technique. If you cover your
Mylar with gum arabic, Watercolor Medium (gum
arabic with acetic acid in it to preserve it), or even
dishwashing liquid, and allow that to dry, you can
then create an image and print it by hand - but you
must be sure that your paper is damp enough for
the image to transfer. The watersoluble coating
underneath your drawing is dissolved by the damp
paper and lifts up with the drawing on top of it,
and the whole thing transfers to your printmaking
Obviously, using a press is easier!
This is a painting of a young woman who used to model for me
before she moved to New York to seek her fortune in music and
the theatre. Not only was she blessed with physical beauty, but
with a lustrous operatic voice, and acting talent! She has already
performed with Shakespeare in the Park. I am so proud of her.
She certainly made an inspiring model though. We all miss her.
Thanks for visiting.