Painterly Monoprints

I have been writing notes in a notebook as I work, and am tending to sit down after a week or so and formalise things into this blog. Last week I had another attempt at the painterly monprint. First I had several attempts at the eryngium still life. I experimented with layering marks and negative versus positive space seeing what worked, and what wasn’t so successful. I am struggling with the lack of line, and seem to be finding it difficult to convey tone and shadow in my work. I have persisted with acrylic paint as I like the energy created through working quickly. I made a final attempt at the painting to bring together all the elements that I felt were successful and am generally pleased with the result.



I have a couple of beautiful Betta fighting fish in my studio, and thought that a painterly print would work well to capture the organza like shimmer as they turn to reveal their range of colours. I haven’t filled the negative space as they are in a white backed tank, and I felt it was more striking without. I was particularly pleased with the variation in thickness of the paint in their tails as well as the sweeping brush strokes conveying the movement as they face-off in battle.


Worried that I had focussed too much on quite expressive pieces and not the stillness with attention to shadows that was implied in the course book, I tried a more traditional arrangement with fruit. I can’t say that I am particularly happy with the piece as I struggled with the negative space between the elements. The apples appear to be floating and again, I struggled with the lack of line to define edges sharply.



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