Goals of Monotype Project:
- To explore the compositional structure and color relationships used in a master artwork from history.
- To understand this composition in abstract terms and be able to discuss it using formal language.
- To collaborate in researching/presenting artists and their time periods.
Inspiration for Project:
"In the spring of 1973 he
(Nathan Oliveira) hit on the idea of borrowing a subject from
Goya, La Tauromaquia 21, for development in an extensive series of transformations... In the space of two months, Oliveira conjured from his zinc plate nearly a hundred monotypes that progressively decomposed the powerful drama of Goya's print into its visual elements... His Taouromaquia series forms a close succession of analytical interpretations that leads far in the direction of abstraction without ever losing contact with Goya's basic image."
(Lorenz Eitner, Stanford University, July 1979)
Four MONOTYPES
Materials:
- Color copy (normal quality is ok) of your chosen painting. Must be printed from the REVERSED image found on the COMPOSITION site. Login to the site then find REVERSE Artist Images in the main menu and follow directions there.
- Watercolor paints
- Clear Plexiglass (same size - or larger than your Photocopy) *get this at Tap Plastics or Home Depot. Anyone unable to get the plexi must contact me the previous week to borrow one from me.
- 1 sheet Rives BFK print paper cut into 4 pieces
- brushes, water container, rags
All work on these monotypes is done in class. You must be present throughout the process for full credit! MONOTYPE #1: Paint a copy of your chosen painting on the plexiglass using watercolor. The composition can be traced or free-hand. It should be accurate to the compositional structure and the color relationships of the original. Soak one piece of the Rives BFK in water for 20 minutes. Remove the paper from water, blot it to remove surface water then lay it on the watercolor image and burnish the back with spoon using a firm, circular motion. Lift paper. You will now have a monotype print of the original painting.
< top: first print , ghost on plexiglass; bottom: Compositional study, photocopy of chosen artwork
MONOTYPE #2 - #4: At this point the work of abstracting the image really begins. Now, as Oliveira did, work right on top of the leftover "ghost" image on side 2. Simplify the image (ECONOMY), abstracting it furthe but maintaining its original compositional structure, color and value relationships. All of your prints should contain the essence of the composition and color in the original painting - BUT SHOULD BE ABSTRACT.
CRITIQUE:
TURN IN:
- Monotypes #1-4
Groups will be formed based on time period/movement of each artist. Each group will present their work in that context. Each student within a group should be ready to contribute something about his/her artist and/or historic circumstances of this work. Groups should confer outside of class on this (exchange e-mails).
CRITERIA AND GRADING:
- Level of abstraction reached while maintaining the original artistwork's FORMAL QUALITIES. This will involve constant feedback during the process of abstracting your painting. You must be in class throughout the entire process to receive full credit.
- Presentation (be sure to include artist name, title of painting, and date on back of first print)
- active critique/group participation - including some knowledge of your artist
TERMS:
- Economy
- “Economy is often associated with the term ‘abstraction.’ Abstraction implies an active process of paring things down to the essentials necessary to the artist’s style of expression.”
- “Economy has no rules, but rather must be an outgrowth of the artist’s instincts.” (from Ocvirk, Form reading)
- Realism
- Abstraction
- Composition
- Balance
- Emphasis
- * Catalog (artist's catalog)
- A VISUAL record of an artist's work. It is usually a large book with lots of high quality, full page, color reproductions. There may be biographical information along with essays but the bulk of a good catalog should be pictures of work.
- A VISUAL record of an artist's work. It is usually a large book with lots of high quality, full page, color reproductions. There may be biographical information along with essays but the bulk of a good catalog should be pictures of work.