Vera Molnar, 25 Carrès (25 Squares), 1989/90Plotterzeichnung Ca. 44 x 44 cm, Unikat Vera Molnar is a pioneer in the field of Digital Art....
2 colour hand pulled reductive linoprint
This blog post could also be titled, "The Best Laid Plans" as well, as one project, which partially failed, dovetailed into another project which didn't fail at all. So here's the story. I have very large, tall, blank walls in my new home. Some of the walls are as tall as 18', and beg for color and interest. With a desire to create a large-scale piece of art for my front entry, I bought an 8' x 4' piece of plywood with an oak veneer, and several quarts of house paint. The idea was to create a new "Furnace" piece, one in a series I did many years ago. This is what the (previously) largest Furnace piece looks like: This measures 3'x4' and was painted on masonite tacked to a deep cradle frame, using a technique called "reductive painting". With reductive painting, you add multiple layers of paint in various colors to your substrate, and then you remove those paint colors by sanding the top layers away, or - as in my case - melt them with rubbing alcohol and scrape through them with a paint scrapper. For the 8'x4' piece I had in mind, though, I wanted colors that were move reflective of what we're using in the house right now- mainly greens. My first task was to use joint compound to cover about 1/3 of the plywood, to add texture and movement in the final piece. This is where things began to go awry. It never occurred to me that the joint compound would wreak havoc with the oak veneer on the plywood, but as it dried, the veneer buckled and pulled away from the wood underneath. I don't have a photo of that, because at that point, I was pretty sure the project was a wash and that I wouldn't be blogging about it! Still, I'm stubborn, and wanted to make things work anyway. I tried gouging some of the bubbled veneer out, left more of the bubbling, and finally decided I liked the texture it gave the wood. This is what desperation will whisper to you, that despite things going pear-shaped, you can still make it all okay. I slapped the first coat of paint onto the now-damaged plywood, a vibrant yellow. I find that with reductive painting, the brighter the early layers of paint are, the more effective the final product is. You can see the damage to the wood in the photo above, and here you can see how the veneer bubbled... The texture was pretty cool, though, right? Right? RIGHT?? (*crickets*) I pressed onward with the next color, a deep magenta. As expected, the house paints gave me superb coverage, but were- I was to find out later- a major contributing factor in this piece's ultimate failure. Next paint later, a lovely lime green. And then the final layer, blue-green. All of these paint layers were done in the same afternoon- as soon as one layer was dry to the touch, I'd apply another layer. It's much easier to remove the layers of paint in the next step if they haven't had time to fully cure. Not that it would have mattered. After the final layer of paint was dry to the touch, I slathered the whole thing in rubbing alcohol, waited a couple of minutes, and started trying to scrape away the paint layers, and... nothing happened. They didn't budge. Not even a little bit. Either the house paints are much more sturdy than artists paints, or the 70% alcohol I used had too little alcohol in it, or some devious combination of the two, but for whatever the reason, the paint wasn't going anywhere. So I dove on my palm sander with it's heaviest grit paper and went at the paint. Nothing. Nada. I blinked in confusion for a full ten minutes. Mistake # 274 coming up. I got out the big boy: my belt sander. I was pretty maniacal by now. The belt sander removed the paint layers, alright, like the bruiser it is, but it also took me back down to the bare wood in many places, and sheered off not only the areas of veneer that were bubbled, but all the high spots of joint compound, too. I had a mess on my hands. Naturally, I was too frustrated and angry with myself that I didn't take photos of it. Suffice it to say, though, that it was Ugly with a capital U. Ok, so I did manage, after a couple of days of looking at what it had become and cursing it, to salvage some of it, but that's a blog post for another day. In frustration, I tried again, still needing a sizable piece of art for my front entry way. This is where my Ikea hack came into play. I had an Ikea table top that looked remarkably like this one sitting around... It measures 36" x 60" x 2" and seemed like as good a candidate as any for my next attempt. Mind you, I would have made my next try on a stretched artist canvas, except that all the rubbing alcohol and scraping of paint tends to stretch the canvas badly out of shape, so a solid surface is really advisable when attempting this technique. But since I was using another unknown- a pre-finished table top- I decided to go back to the mediums I do know: light modeling paste instead of joint compound, artist's acrylics instead of house paint, and 91% rubbing alcohol instead of 70%. I like to up my odds whenever possible. Needing to remove the gloss of the pre-finished wood veneer, my belt sander came out again and with a small amount of work, a dust mask, hearing protection, and safety glasses, I sanded the crap out of the table top. I was taking no chances. Next came the modeling paste, applied down one edge for textural interest. I used a 3" wet paintbrush "slapped" into the paste to give it the texture I wanted. Then the paint layers, which I didn't photograph. Yellow, magenta, pale blue-green, and phthalo green as the top layer. Moving quickly through the day so the paint layers didn't have time to cure, I finally covered the whole thing in a couple of bottles of rubbing alcohol and started scraping away at it. Ta-da! It now stands in my entryway in a kind of in-your-face way that I'm happy with. I wanted to hang it, but frankly, it's hollow-core and I don't know that it can hold its own weight on the wall- after all, it was built to sit on legs, not hang by a wire. To give you an idea of scale, here it is in its natural habitat... If I can devise a safe way to hang it, it will go up onto the wall, where I think it would be much happier. Happy creating!
http://arthound.com/2014/11/artist-crush-andrea-myers/ Andrea Myers- "Within my artistic practice, I maintain an interest in exploring the space between the two- dimensional and three- dimensional, hybridizing painting, printmaking and sculpture." - andreamyersartist.com/
After a career in business, training and coaching, Claire Benn returned to her first love - textiles. Twenty-five years on, she is one of the UK's leading
Appalachia has long been saddled with stereotypes related to poverty, insularity and racism. When photographer Rich-Joseph Facun moved to the Ohio countryside with his family, he used his camera to better understand his new home.
A Peregrine Falcon and her Tiercel patrol the headlands of Mohegan Island in Maine. This is a 5 color reductive lino print, based on my experiences on the island. The famous Gull Rock is in the background.
After a career in business, training and coaching, Claire Benn returned to her first love - textiles. Twenty-five years on, she is one of the UK's leading
These are the MISPRINT editions of my fig. 2 reductive Lino print. Misprints, or seconds, are the prints that have minor misalignments, small paper damage or accidental print lines, see photographs provided. The misprints are not numbered, as they do not count as the official run of prints, but are still signed and named. My mini fig reductive Lino print series, is based on one of my favourite academic puns, ‘fig. 2/figure two’. Reductive lino printing is a method used when creating a multicoloured lino print, where a single lino block gets repeatedly cut and printed, allowing for colours to be layered on top of one and other. It took me a month and a half to complete, which I have documented on my instagram, if you are curious to know more about the process. I hope this simple academic pun brings as much joy to you as it has to me. Product Details: The reductive Lino print it printed on top hand made, 320gsm paper, each is hand printed and consistency of seven layers. These are the MISPRINTS, and are NOT numbered. The print is 25cm x 25cm. the print is sold unframed. A misprint will be chosen at random, and could have any of the faults described. Delivery: FREE SHIPPING Orders will be packaged carefully and are posted within 1-2 business days via Royal Mail 1st class.
Capturing the tranquil essence of Portree Harbour, this minimalist print is a harmonious symphony of understated elegance and serene vistas—inviting you to experience the Scottish Isle of Skye's iconic seaport through a modern, reductive lens. In embracing the essence of minimalism, the print conveys the calm of the harbour through broad, sweeping blocks of colour and distinct but simple forms. The foreground is dominated by a serene expanse of sea-green that transitions softly into a mirror-like reflection, creating a near-symmetrical division that pulls the eye to the heart of the scene. Nestled against a backdrop of hazy blue mountains, the quayside village is depicted in muted tones, its boxy buildings with tiny, glowing windows abstracted into geometric silhouettes that embody the quietude of a twilight-lit evening. A singular boat is moored in the water, its form a dark contrast to the ethereal lightness around it, hinting at the presence of life amidst the tranquil nature. Above, the sky merges with the mountains in a gradient of blues, suggesting the creeping embrace of dusk. This print, a piece from our 'Modern & Minimal' collection, offers a timeless piece of the northern Scottish landscape to those drawn to the purity of minimalist art. It is a celebration of simplicity, mood, and place—a piece that complements any space seeking to echo the peacefulness of a secluded harbour without the clutter of intricate detail.
Gouache on handmade Khadi paper Edition: Unique, Unframed. Joanne Freeman's works on paper are made with gouache on handmade Indian Khadi paper. She uses tape to mask out shapes and employ hard edges, working spontaneously, placing down a shape and then building upon it. Her use of singular color accentuates the interplay of ground, foreground relationships. Freeman tries to merge random gestures and idiosyncratic shapes with a controlled and reductive abstract language. This piece is part of a series titled "Covers", it pays homage to the graphic style of album covers, paperback book covers and media that permeated mid-century popular culture. The limited choices of early printing technology leant itself to simple, direct and innovative compositions that Freemans also strives for. less
AUTUMN EVENING ON THE WOLDS - YORKSHIRE WOLDS One of a series of Limited Edition Yorkshire Countyryside Linescapes. My approach to digital printmaking combines an interest in landscape, design, logo, symbols and signage. As a reductive artist I'm always in pursuit of a minimal outcome, nudging towards the abstract. My unique delineation of the landscape is based on a stripped down reality and pay homage to the early twentieth century German and Swiss design aesthetic. The Limited Edition (250) - Yorkshire Countryside Linescape range is particularly influenced by the original Great British Rail Poster designers. Panoramic ............................................................................................................................. Ltd Edition Print (85.4 x 30.5 cm) - Giclée print on Archival paper - £120 Includes an additional 2.6cm - 1" white border .............................................................................................................................. Each print is signed & editioned on the front .............................................................................................................................. Printed on Archival paper using Epson Ultrachrome inks. Please note that colours may vary slightly due to monitor settings. Please also note that the main image is published here in medium resolution only. Please be assured that your printed image will be beautifully crisp, as indicated in the photos. Panoramic images will be posted in a sturdy roll tube. To view other items click here http://www.etsy.com/people/ianmitchellart Thank you for visiting my shop! © Ian Mitchell
After a career in business, training and coaching, Claire Benn returned to her first love - textiles. Twenty-five years on, she is one of the UK's leading
PANORAMIC - FLAMBOROUGH HEAD One of a series of Limited Edition Yorkshire Coast Linescapes. My approach to digital printmaking combines an interest in landscape, design, logo, symbols and signage. As a reductive artist I'm always in pursuit of a minimal outcome, nudging towards the abstract. My unique delineation of the landscape is based on a stripped down reality and pay homage to the early twentieth century German and Swiss design aesthetic. The Limited Edition (250) - Yorkshire Coast Linescape range Panoramic ............................................................................................................................. Ltd Edition Print (85.4 x 30.5 cm) - Giclée print on Archival paper - £120 Includes an additional 2.6cm - 1" white border .............................................................................................................................. Each print is signed & editioned on the front .............................................................................................................................. Printed on Archival paper using Epson Ultrachrome inks. Please note that colours may vary slightly due to monitor settings. Please also note that the main image is published here in medium resolution only. Please be assured that your printed image will be beautifully crisp, as indicated in the photos. Panoramic images will be posted in a sturdy roll tube. To view other items click here http://www.etsy.com/people/ianmitchellart Thank you for visiting my shop! © Ian Mitchell
The Larue Sconce is evocative of a bygone era of opulence translated into a reductive form in engineered polymer. The overall form adds a touch of sophistication, while the intricate details create a mesmerizing centerpiece. Its pointed face is striking yet its curved edges are inviting and reminiscent of the gentle swaying of palm trees in the warm breeze. Art deco style is infused with a vibrant island beach spirit to transport you to a shimmering dream of unforgettable memories and passion. Larue is perfect besides a vanity mirror, in a personal office, or fitting for a stylish living room to entertain guests. The sconce is completed with a round backplate available in Brushed Bronze for a more antique feel or in Satin Nickel for that touch of chic elegance. DETAILS MATERIALS: Engineered Polymer, SteelAPPLICATION: Wall MountTYPE: HardwiredSOCKET: Type G8, Max 7WLIGHT SOURCE: x2 G8 4.5W, 90+ CRI, 800 lmCERTIFICATIONS: UL and cUL Listed DIMENSIONS DIMENSIONS: L 5.46" x W 5" x H 11"WEIGHT: 2.92 lbs DOWNLOADS TEAR SHEET INSTALLATION INSTRUCTIONS
About The Artwork In my work I use grids consisting of triangles, rectangles or stripes to provide a platform (and an accommodation also) that allows color to unfold a maximum energy and vividness, which will percolate through the lattice as a whole. Occasionally the brushstroke might burst open the framework urging to find its own potential and autonomy. My goal is to create a vibrating presence of color. In 1914 Paul Klee jotted in his diary: “Color has got me. I no longer need to chase after it. It has got me forever. I know it. That is the meaning of this happy hour. Color and I are one. I am a painter.” Original Created:2017 Subjects:Abstract Materials:Canvas Styles:AbstractMinimalismAbstract Expressionism Mediums:Acrylic Details & Dimensions Painting:Acrylic on Canvas Original:One-of-a-kind Artwork Size:9.4 W x 11.8 H x 0.8 D in Frame:Not Framed Ready to Hang:Yes Packaging:Ships in a Box Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:Germany. Customs:Shipments from Germany may experience delays due to country's regulations for exporting valuable artworks. Have additional questions? Please visit our help section or contact us.
