This was another mixed media technique that used aging and cracking varnishes. The line work was done in pen and ink then layered with watercolor. Then you apply the aging varnish which creates a yellowish tone. Once that is semi-dry you apply the cracking varnish. In order to see the cracks you apply a wash of oil and then buff it down. Then add the finishing touches with some gouache. I chose to illustrate the University of Miami mascot with this cracking technique to show how their football program had fallen apart and lost their winning ways this past season.
These works were all from a class that explored new matierals and techniques. Blondie was a speed drawing(30min) done in a stlye favored by Mark English. He used the combination of nupastels and mineral spirits to create a quick and effective way to make a painterly and gestural drawing. Round in Sound used the technique of acrylic under and overpaintings while using the Fletcher's color scheme of a soloist and chorus. Protect and Serve was done in the C.F. Payne technique which involved a process of several layers (gesso, acrylic, watercolor, oil, and color pencil). The test patch was done first to get comfortable with the technique before moving on to the final. ****These works were digital photographed, so the resolution and color are some what lacking. Once I get near a scanner I'll repost those.
Good Mornin' has more of a stylistic meaning rather than conceptual. The various features of a rooster allowed me to render with vaule and line. The closeup gives a more keen example of this. These were proofs, which are newsprint layers that allow you to slowly ink up to full strength. Once at full strenght you print on rag paper. The final print of this is in circulation through the SCAD Atlanta and Savannah campus. I.C.U. was made through the waterless lithography process. This technique allows you to print in color with each layer being a seperate color. This piece was made in three layers divided by the orange background, red stippling background, and blue ink work in the foreground. These two proofs show how I was experimenting with composition.
This series was an introduction on how to make lithographs and how to rework them. The first print was litho pencil on stone. The second used counter etching with an xacto blade to give added depth and texture. The third used the stencil approach which isolated certain areas to acid and gum. This made more clear and sharper whites.