SOLD 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.
NFS 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 paper.
SOLD 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.
