More Monotypes & the power of descriptive linework. These images are copyrighted, please do not reproduce without permission from me the artist.

Garden Nocturne, Detail 1, 2011, monotype on paper, Andrew Portwood copyright 2014

Garden Nocturne, Detail 2, 2011, monotype on paper, Andrew Portwood copyright 2014

I want to say first that I am "influenced" by great work...past and present. I admire the great works that have survived the test of time. While researching the monotype process in order to learn the process for my own work...I came across examples of monotypes authored by other artists throughout art history...I did not know Degas made so many monotypes! I have researched and looked for good examples to learn from...monotypes from the great artist master's of the past, like Degas, Goya, Rembrandt etchings, etc. And I have to say that I have been Directly influenced; The line quality and draughtsmanship of these artists is at the core of their work. One can speak volumes with a descriptive and bravado line. 

I admire linework because I have spent years (thousands of hours) drawing. I was an advertising story artist for ten plus years. This job involved drawing with pencil daily...creating detailed, narrative illustrations of  proposed television and film story and idea. Everything that I drew came out of my head and my experience. I visualized everything...and most of that story involved figures and movement in different settings and from different and sometimes unusual angles. I found a loose and descriptive line style on my own from putting in thousands of hours of drawing practice. I do occasionally use photo reference for proportions sake...for instance the horses, in some of my work, need to be more accurate for my own preference. I have "the license" to change it up. 

This latest and largest monotype attempt: "Garden Nocturne", 2011, Andrew Portwood

(measures 18" x 24"), came out with a kind of "Baroque" feel to it, sub-consciously and by accident.

When I loaded my brush, I did not use large globs of paint, but more thinned out swaths of paint trying to cover a 18" x 24" plate, and as it turned out that the thin paint really amped up the line quality ( I am always learning by doing). I like it!

Detail, Harlequin Horse 12" x 16", monotype, Andrew Portwood

"Harlequin Horse", detail, 12" x 16", monotype, Andrew Portwood copyright 2012

"Angel", detail, 2011, 12" x 16", monotype, Andrew Portwood

 OK, here are three more monotypes I'm pretty pleased with...working with the same three or four colors in a series. They will look nice matted and framed, maybe in a simple, un-adorned pewter or silver. This goes out to all of the angel's, Muse's, and other holiday spirits out there...you know who you are! I guess that I am destined to paint angel's and fairies and banshees the rest of my life... the real one's and the one's in my own head, ha ha. But that's the way it is when you are creating, you have to dig into your own psyche. sold

"Angel", 2011, image area: 12" x 16", monotype, Andrew Portwood

"Sisters", 2011, 12" x 16", monotype, Andrew Portwood

"Harlequin Horse", Detail, 2011, 12" x 16", monotype, Andrew Portwood

"Harlequin Horse", 2011, 12" x 16",monotype, Andrew Portwood Artist

"Sunshine", 2011, 8" x 8", monotype, Andrew Portwood

Sunshine, 2011, 8" x 8", monotype, Andrew Portwood copyright 2011, Sold

This is another little 8" x 8" square monotype in oil, very loose, quick painting. I have just pulled 4 new 12" x 16" monotype's in oil that I will post...I have been trying out different paper types for these: Arches hotpress, and Rives etching paper, as well as Strathmore drawing paper. I really like the Arches 90 lb. paper. Have not gotten around to the larger 18"x 24"...working my way up to that

"Red Spanish Horse", 8" x 8", monotype, Andrew Portwood 2011

Red Spanish Horse, 2011, 8" x 8", monotype, Andrew Portwood copyright 2011, Sold

This one is my favorite so far. I think I am ready to start working at a larger size..maybe try 18" x 24" format...stay tuned for the results, I'll post when I pull a larger print. Remember, I'm experimenting with this process, so I'm learning as I go along(which IS exhilarating) and, part of the challenge I think, with a larger format, will be the transfer of paint onto the paper ( I have no press, only a hand burnishing process). So...I found this really sturdy mailing tube in my studio that I was saving...for mailing, but I think I will employ it as a large "roller" and attempt to transfer the paint(image) like a giant rolling pin with the right amount of careful pressure, like a real press. We'll see...

"Mr. Green", 8" x 8", monotype, Andrew Portwood 2011

Mr. Green, 2011, 8" x 8", monotype, Andrew Portwood copyright 2011, Sold

"Red horse Blue horse, 12" x 16", monotype embellished with pastel, Andrew Portwood 2011

"Rose", 10" x 13", monotype, Andrew Portwood 2011

Rose, 10" x 13", monotype on paper, copyright Andrew Portwood 2011

Black Horse, ghost impression 1, 11" x 14", monotype, Sold

Black Horse, ghost impression 1, 2011, 11" x 14", monotype , Sold

Here is another monotype, this one measures 11" x 14", and it is the second impression (called " the ghost" impression) pulled from the plate. I'm doing all of these with oil paint and using a piece of glass as the"plate". And, I don't have a press, so I am hand burnishing the paper onto the inked glass plate. I'm doing about one or two a day and pleased so far, I'm still experimenting with this process, which is challenging and fun. They have a simple, clean graphic quality and you can see the character of brushstroke in the impression, which is interesting..and there is always that element of surprise when you finally lift the print off of the plate. The next step is to embellish with a little pastel. One of my favorite artists and influences is the master Edgar Degas. His monotypes are amazing and inspiring! I'm going to check into accessing an etching press for a day, that way, the ink (or in this case oil paint) will ideally saturate into the recesses of the paper.

"Amber waves", 8" x 8", Monotype print on paper

Amber Waves, 2011, 8" x 8", monotype, Andrew Portwood copyright 2011

This is one of a new series of artworks. It's a monotype print, which is an original one (sometimes2) impression print. It's a print, yet, unlike multiple print impressions, there is only one-of-a-kind, then the inked plate is wiped clean. This one is titled "Amber waves" and image area measures 8" x 8", unframed. I titled this piece based on its color. The black, blue , and burnt sienna make a copper, amber color against the cream white paper.This piece is still available and for sale.

"Nottington Fair", Detail, mixed media on canvas, 36" x 36"

"Blue Farm Horse", 5" x 7", pastel on paper

Vermillion, 19.5" x 25.5" Framed, pastel on paper

Vermillion, 2009, 19.5" x 25.5" framed, pastel on paper, Andrew Portwood copyright 2015

This is a nice pastel drawing that I completed a few years ago and framed in a nice Roma Italian moulding. It is titled Vermillion, like the color, and it is available. I really love this drawing.

Nottington Fair, 36" x 36", mixed media on canvas, SOLD

Nottington Fair, 36" x 36", mixed media on canvas, SOLD

Yellow Horses, 36" x 48", mixed media on canvas

Sepia Ink Horses, 15" x 15"

"Rose Blush", 18" x 24", pastel on paper

School Horse, Detail

"Putting things into perspective" with pictures, School horse, 25.5" x 19.5", pastel on paper, 2009

I recently took a good look at this drawing after a couple of years and saw it in a whole new light...I realized what it was about. It's not about accuracy and anatomic model....instead, it's full of personal symbolism. When I shifted gears in my art career, I wanted to paint from "within" and find a true voice, this became kind of a "therapeutic catalyst" for things that I could not understand or express otherwise..Here, I think..I am speaking about my divorce and the mixed emotions and struggles that come with the whole life altering mess...I needed some more clarity, and my artwork and creative process helped me find some resolve or acceptance in these life changes that I had no control over. I think that visual metaphor and dreams are very powerful and can give clues and answers to our individual questions and kind of "put things into perspective". So pick up those art supplies and see what can manifest and materialize. 

School Horse, 2009, Framed, 24" x 30", pastel on paper

You know I really like blue, "Bluefield Street" Detail, 48" x 48"

 

These are of the horses that I conjure up in my imagination, a bit primitive and whimsical, always a metaphor for something I suppose...not gonna get too introspective...I just like blue. Sold

"Dancing Horses Green", 30" x 40", mixed media, acrylic on canvas

Dancing Horses, 30"w x 40"h, acrylic on canvas, Andrew Portwood Copyright 2015

"Dancing Horses Green", Detail 1, 30" x 40", mixed media, acrylic on canvas

"Verde", 14" x 17", charcoal & pastel on paper, Andrew Portwood Artist

"Verde", 14" x 17", charcoal on pastel on paper, Andrew Portwood copyright 2009

 

This is a simple, stylized sketch with charcoal and a touch of green and red. These sketches usually are work-ups to a painting, or a way to put down an idea before it evaporates!

"White Carnation", 18" x 24", SOLD

Red Rover, 36" x 48", acrylic on canvas

Bluefield Street, 48" x 48", acrylic on canvas

Bluefield Street, 48" x 48", acrylic on canvas, Sold

New Artwork, "Wilderness unfurled" 30" x 48", Acrylic on canvas, SOLD

More figure drawings

Gestural figure sketches

I've been working on some new things over the past weeks and okay, I have also taken a much needed break, and had some relaxing holiday fun in the wonderful Atlanta Spring weather too. This is a sampling of new pieces coming out of the studio; Lots of charcoal figure sketches that I am in the process of framing (I'll post some pics of the finished results here), and some acrylic and oil on canvas in large format sizes.

"Boundless", 36" x 48", oil on canvas

"Boundless", 36" x 48", oil on canvas, SOLD

"Verbena"

"Verbena", 20" x 16" framed pastel on paper, SOLD

Gone Figure Drawing, 18" x 24"

Well, I 've made a real effort in the past two weeks to "get out there" and do something different, I have signed up for some local figure drawing sessions here in Atlanta, and have had some pretty good results. The Cobb Museum of Art in Marietta on the square and The Bohemian Circus at The Apache Cafe on 3rd Street. Drawing from nature is always good practice , keeps your fundamental skills sharp by keeping you grounded academically. What I mean is this; as artist's, we learn by habit, and you can get stuck by drawing in your comfort zone too often. Things can get stale and rehearsed, so drawing from nature, be it landscape or figure, forces you to test yourself and follow a new map. You can't argue with anatomy and proportion, it's good for you too. Drawing from life(nature) means everything you see in front of you is accurate, the light and shadows and proportion, not like a photograph, there is 3 dimensional depth to account for. Anyway, it was refreshing and kind of like going back to school without trying to explain why and I intend to make drawing and painting from life more of a ritual practice to keep the skills in tune. Of course I am still going to draw from memory because that's where the artist's personal music is playing.

I definitely recommend checking out either of the venues listed above.

The Big Snow in Atlanta

Hey, I thought I would post these shots I took the night the snow came a few weeks ago. I stayed late working on the computer at the coffee shop (you know, free wifi) and I came outside around 10:30 and shushed up to the studio and grabbed the camera, the streets were empty and all was quiet. I love the light of the streetlamps in the haze of the falling snow.

Angel Blue Sky, 16" x 20", oil on canvas

"Mr. Bird Said", 20" x20" Oil on canvas

I guess this one is reminiscent of when I was illustrating Children's books and literature...similar to some of my book illustrations, seen here- very narrative...make up your own story, I can't tell you what it's about. Although, I would say it's about being lost and asking for directions, because you have a passenger in distress, and it's getting dark and cold and you're looking for some shelter- at least until it get's light. OK, maybe I can tell you what this picture is about after all. That's the wonderful fulfillment one get's from painting & drawing and creating from your imagination..there is a lot of pretending and playacting that goes into it because you have to visualize it with your mind's eye just like when you were a child playing in the yard. You have to feel it as if you were there and then build it using perspective and form and expression, and create a sense of space and place. It's never quite right, but fun trying to create that imaginary place that you see in the recesses of your memory, it's a little fuzzy and out of focus, but we try to nail it down. I think that all artist's can relate to that struggle...chasing that illusive vision.

New painting, mixed media on wood panel

Here is a new equine piece titled The Crimson Prince. It measures 24" x 30", lots of color, and it comes with a frame... which I will post a photo of later.