Monotypes on different types of papers

Depending on which paper I use I get different results for my monotypes. Here are some examples from the demo at the Encaustic Center

Untitled - mullberry paper detail

Untitled - mullberry paper detail

On mullberry paper, the paints sinks immediately and, irremediably in the paper. I can add pencil and oil pastels marks, though the pastel tends to pick up the fine fiber of the paper and make it lint. There is no further moving of the paint around while on the hot plate, nor shading by rubbing with a paper towel… And that’s fine, when I want a pointilliste effect .

Untitled

Untitled - tracing paper

With tracing paper, the paint absorption is reduced quite a bit and the paint swims on top. I can manipulate it a lot more. The paper towels can absorb a good amount of paint and thus reduce the paint layer, giving it more transparency. I can also wipe it away and leave marks, and textural effect (center blue “swish”, white lines). Where it gets fun for me on tracing paper is using oil pastels. The paper is so thin that the oil pastels melts quickly and gets creamy. It makes for stronger marks against the transparent surface.

Untitled

Untitled -watercolor paper

Watercolor papers lends ithemseleves well to rubbing the paint. Rubbing the paint in reveals the texture and grain of the paper. It also helps me blend the colors further into each other and into the paper. I can do some shading and gate some gradient. I can also add shades in areas where there was no paint by using a little paint on the paper towel and lightly rub the paper.
Untitled-detail

Untitled- watercolor paper detail - etched lines

It’s also a paper strong enough to withstand vigourous rubing so that I can fill in the line I etched in the paper with the paint (horizon lines in this piece). I use the sharp tip of an awl (could be a nail, anything sharp) to make a groove in the paper before I put paint on the paper. I like this because when I rub the paint in, the line appears (usually but not always). I love that reveal process and the fine feathery line. It defnitely reminds me of my drypoint printmaking experiences. I would say that watercolor paper is my preferred material for this technique because its sturdiness lets me pick and choose the effects I can play with. I like a material, technique that offers possibilities. With that comes a sense of freedom to explore.

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