My first foray into printmaking was a series of abstract acrylic monotypes using a gel plate. I quickly became enamored with exploring different ways of manipulating the final image by introducing different textures and stencils, as well as by experimenting with the qualities of the paint on the plate. It allows me to bring the same “messy” approach to printmaking that drew me to painting and mixed media in the first place.
I was initially focused simply on color and texture, and the resulting layers I could produce. This led me to create what I call my Four Seasons series, of which Summer III is a part.
Some of the techniques I played with involved producing “ghost” prints—creating multiple impressions from the same matrix without adding more pigment. I quickly learned that acrylics don’t lend themselves well to this process (they generally dry too quickly to make multiple impressions feasible), so in an attempt to slow the paint’s drying time I began applying a fine mist of water to the plate between each print. This resulted in some images, such as this one, that are more suggestive of watercolor than acrylic.