Printmaking (A Departure from Film)

Spent most of today doing write-ups but I did manage to successfully make some backgrounds for my next oil paintings. I’ve noticed that all the photos which appeal to me as “sublime” all have interesting and unusual light. I think the light in a landscape is the most powerful way of making a sublime image – maybe because our association of light with a higher power (walking towards the light, heaven, halos, Gods of Sun and Moon).

So having found the common denominator, I’ve decided to do a few paintings with the light as the focal point and subject. Weather seems like good a unifying theme for these paintings as each type of weather has a characteristic light and often the weather is associated with a divine power/ Godly influence. My challenge to myself is to put across the presence of this higher power, and get that sense of awe and wonder which is integral to a “sublime” image.

SO, because of my experiment with monoprinting and my discovery of the wonderful textures involved, I have chosen to use an oil based ink as the grounding for my weather paintings, so that I can paint with oils on top of them when they’re dry. I have a feeling that this texture will work better with bad weather, but I have made some sunrise ones to see how that pans out too. I just love the rough, earthy texture which the ink press creates. Let’s see what happens…

keywords: printmaking, monoprint, ground, weather, sublime, texture, light

2 thoughts on “Printmaking (A Departure from Film)

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