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
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 - 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 -watercolor paper
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.
Karen Chaussabel 