The 41 comic festival takes place at Angouleme these days. Unfortunately Angouleme is located a long way from my place in the South-West of France between Limoges and Bordeaux. I would love to see and talk to some of the artists like Mattias Adolfsson (Mattias inks) and buy of course the one or other signed book copy.
It seems that one of my favorite publishers L’Association is not represented this year.
I am not a fan of those boring comics that do not much else than celebrating violence and killing readers time with stereotype hero stories. I know that the comics or graphic novels that interest me are only a small fraction with a marginal position in the market. Perhaps one even could say that those are not part of the highly commercial comic book market at all.
Monotype techniques are frequently used by these artists and I found many inspiring applications of that versatile technique. Located in Durbuy, in the Belgian Ardennes, the “S” Grand Atelier offers a series of creative workshops for mentally disabled artists and functions as a kind of laboratory. Some interesting publications based on monotyping have been released.
After long last I finally did a video and filmed how I do my monotype prints without using a press. I mounted my mobile phone over the glass plate and then started the film function. I interrupted the recording two times. This simple monochrome print took about an hour to make and I compressed the process into a 10 minute time-lapse. Under normal working conditions I need 2-3 hours for a print.
The basic steps in this example are:
1. painting basic forms and tonalities, adding structures by removing excess liquid with tissue
2. drawing with black oil stick color and modifying the drawing with brush sticks or other tools
Some time ago I joined Fine Art America as Print on Demand outlet for high quality prints. The qualities of the professional scans (full size scan with drum scanner at 300 dpi) I order each year of several selected monotype prints come to great effect on the website of Fine Art America. Their latest addition to the product range are Acrylic prints. These are prints which are mounted on an acrylic picture carrier for frameless presentation either with wire hanging or aluminium hanging posts.
Tracing a subject is a widely used technique in the art and illustration world. I do not want to discuss the question whether tracing is a kind of “cheat”, as it can be done with less dexterity than a freehand drawing, or not. This post is about learning proportions in drawing. Once I got so fed up with my lack of depicting space when drawing architecture from life that I took a photograph of the scenery, went home and traced the subject to escape from what I considered poor drawing skills.
The process itself was boring, but I was surprised what an unexpected impact this excersie had on my perception and drawing skills. Suddenly by moving the drawing tool in correct (well as correct as a photograph can be)proportions along the lines of the photogrpah I recocknized all the strong foreshortenings, how dramatic the street was opening towards the viewer, how small those trees were in comparison in the background, how flat those roof angles were and so on. I could feel this in my hand.
The lesson I learned was not only on proportions and the way how to see things, but also the experience that a drawing is not only the result of processed observation translated to and expressed by the hand, but also a process of programming the brain through the moving hand. In other arts like dance it is completely natural to know and to use this process from body movement to brain, in drawing I have rarely even heard of it. Drawing stimulates our brain activity and imagination. It can be very helpful to do a tracing exercise on difficult subjects for an initial re-write of perception and the way to see. It has to be tracing, to copy a photograph is something different.
The illustration above is a simple trace monotype: I put a layer of thinned oil color on the backside of a computer printed photograph. This tracing paper was put on a sheet of drawing paper. Then I followed the outlines of the tree trunks and branches with a ball pen. The pressure transfered the oil color to the drawing paper. I used this way of creating a drawing in oil colors on some of my Paraphrases after Piranesi.
Sometimes it is necessary to try at least a breakout or an escape from the usual routine to find new ways. This monotype is a combination of an oil color drawing, a “regular monotype” and some painting on paper. I kept this work, which seems not to comply to any kind of appropriate technique or style, because it represents the view of nearby a forest in a surprising way: everything is unclear,but still a forest is visible. I love it, as it is an honest document of failure.