Monthly Archives: February 2012

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My recent multi-linear paintings have all overlaid intersecting lines to create specific figures. These have all been specific choices and also immediately whole; meaning that I draw the figure all at once and specifically choose which lines overlay when painting. The recent series of prints have involved multiple separate whole figures overlaid to mimic the multi-linear effect of the paintings.

3 green lines in painting #420

I say these are immediately whole because the drawings are done all at once in one continuous motion, and the overlay is chosen after, when I am painting.

Number 417 with the original sketch from 6/5/11 - This shows the original figure was drawn all in one motion at one time. There are multiple strokes in the drawing (some of which are do to the pen "skipping" because of the speed) but there was no conscious pause or switch in colors. Each stroke was still part of the same brief moment.

Close up of 417 with the original sketch

The colors were chosen during the act of painting

The current set of prints are made by overlying 3 ‘complete’ but comparatively simple figures to approximate the complexity of my recent paintings. All of my work features several similar shapes repeating in different chaotic combinations to produce unique figures. By overlaying several complete shapes and varying the registration, chaotic differences emerge in the finished prints. I feel this builds on the conceptual basis of my work in infinite variation.

Since each print is composed of the same elements, combining them in different ways allows us to examine the ways the elements are similar and different. This is an expansion of the same ideas in my large drawing installation in Further Complications. That installation allowed the viewer to compare and contrast 7920 individual consecutive moments on the same plane, in order. The prints remove the elements of order and time; instead directly comparing shape by placing the images over one another. By not trying to control the registration of the screens I introduce a chaotic element into the iterations that allows different shapes in the stroke to be contrasted.

Here are the original elements:

The three element of the 2/19/12 Prints

Here is the first variation, in Red, Orange and Turquoise:

Red, Orange, Turquoise - All 3 variations

3 variations in Red, Orange and Turquoise. Click the picture to view it full size.

Here are another 4 variations in Orange, Turquoise and Chrome Oxide:

4 variations in Orange, Turquoise and Chrome Oxide - click on the image to view full size.

The final print I did of this set is in Turquoise, Green and Brown:

The final variation in Turquoise, Green and Brown. I only did one in this color combination.

More prints

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I am continuing to experiment with screen printing. Now that I have the process down I am free to make more directed experiments with colors and overlays. I have found that 2 and 3 color variations work best. 4 and 5 colors seems to be too much for my current figures. Here are some of my more successful two-color variations:

Dioxazine Purple and Chromium Oxide Green

Dioxazine Purple and Turquoise (Phthalo)

Turquoise (Phthalo) and Chromium Oxide Green

Three colors:

Raw Umber, Chromium Oxide Green and Napthol Red/Hansa Yellow

The green went down first, then the brown finally the translucent red. Because the purple is so dark there is only an overlay effect from the red. Either red over green or red over purple.

Raw Umber, Chromium Oxide Green and Napthol Red/Hansa Yellow (close up)

Raw Umber, Chromium Oxide Green, Turquoise (Phthalo)

Since the turquoise went down first, there is no overlay effect at all.

Raw Umber, Chromium Oxide Green, Turquoise (Phthalo) (close up)

Chromium Oxide Green, Turquoise (Phthalo) and Yellow/Green Oxide

I used two greens on this one. The first layer was a full Chrome Oxide Green. The oxides are all pretty opaque colors. The Phthalo is very translucent, so there is an overlay effect on the second layer. The third layer is a mix of Chrome Oxide Green and Yellow Oxide which is also very opaque. This has been a favorite color mix of mine for a long time. I like that the overlay is limited to the middle layer.

Chromium Oxide Green, Turquoise (Phthalo) and Yellow/Green Oxide (close up)

I am continuing to experiment with the technique of printing. During this recent set of prints I started playing with the ratio of Golden Screen Print Medium to paint. Using more than 50% medium with the heavy body paints definitely allows more transparent layers. This does affect the fluidity of the paint mixture though and you can easily over-flood the screen with paint if you are not careful. I found that with some of the medium to paint mixtures that I did not need to do a flood stroke. Just pushing the ink through the screen on one pull was enough to get a clean print.

Corn Syrup and Dish Soap: cheaper and better line quality

I read somewhere that you can make your own drawing fluid from corn syrup and dish soap. I looked for recipes that specified how much of each but I couldn’t find anything. So I just started mixing them. Based on my limited experiments I can tell you I got best results when I used mostly corn syrup. If you add too much dish soap the fluid will be too watery and it will bubble too much. The main benefit to making your own, aside from much lower cost, is that you can control how thick it is. For the type of line work I am doing, I have found that a thicker drawing fluid produces better results.

I put a few of these up on the Prints page. I will add more soon.