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james119 — Not-Knowing
Published: 2006-10-21 15:25:01 +0000 UTC; Views: 976; Favourites: 15; Downloads: 9
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Description
Digitally processed analog ink splashings.Related content
Comments: 23
Might I inquirer to which inks you used. I picked up a book after looking for similiar styles, took me three years to remotely find anything on it. It was a photography process book that discussed for a whole 2 pages about photo inks on glass. But what type of inks were used, is left out. The other question that im curious about was this pressed between 2 sheets of glass? And have you experiemneted with waterdown acryllics and salts at all?
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I have done a lot of what the early surrealists called decalcomania - pressing pigment (gouache watercolors, oil paint, or my choice, etching inks) between glass (or plexiglas) and pulling the pieces apart, then running one plate through a press with a piece of paper. However in this case the technique is much simpler - Tape a piece of paper to the wall. Thin some oil-base printing ink to a liquid with mineral spirits. Pour equal parts ink and water into a cup and hurl the contents at the paper.
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Thank you thank you!! This is a step in the right direction, although a few of my art professors knew of Decalcomania, none of them had much experience, so there was no sudjestions on where to begin. As i noted the book i finally found on it was vague.. There so explicitive.. Around the likes of "You mix something, with some photostuff, and POOF."
A year or two back =resurgere stock put up some of this material.. Although Dholms was not forth comming.. Its the butrification, the seperation im very curious about. I know oil and waters will do this to a certain exstent, but somehow dirt and some salts, light mixture of mineral spirits or acid. Did you have a preference for the oil-based printing inks(is this what ink an acetateis is??) 2ndly Is this something I have to photograph on the spot? I assume the chemical reactions continue and eventually become destructive and mudded.
Here are some good examples of the butrification im talking about(I also think they used different colored felts behind the backing of the glass to..Orginally i thought this was some form of marblization or Encaustic technic.)
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I don't know this word "butrification". What is that? As for the examples you pointed to - my guess would be that those are drawing inks of various colors dripped onto a sheet of acatate, with another sheet laid over the first, then squished around a little. When you see something you like, photograph it. Otherwise the colors would keep mixing and turn to mud, and the whole fluid effect would be gone by the time inks dried.
My ink and water splashes are very immediate and dry just fine. The one under discussion here was done years ago. I have used many kinds of printing inks in my experiments, but mostly I've just used commercial process inks (cyan, magenta, yellow and black) because they create the widest range of colors with the smallest investment in ink. The splashings are fun, altho many come out as muddy messes. Since they only take a minute to make, that is no great loss.
As for "decalcomania" Oscar Dominguez (spelling?), the surrealist who invented/named the technique, followed by Max Ernst and others, prepared smooth, gessoed canvases or smooth gessoed boards and then I believe they pressed their oil paints between two pieces of glass and pulled them apart. If they like the patterns on one or both of the plates, they pressed those against the prepared painting surface, which then grabbed most of the paint. The patterns that result actually have a "scientific" name: viscous fractal fingering.
I have done a lot of experimental marbling. too. You can find a lot of examples of my experiments in my gallery and scraps here. I have never worked with encaustic wax, but I do know that it is another excellent medium for doing decalcomania
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Im kinda of a boob about friending people, unless there people I work with. But your work is excellent, and you havent hidden behind gimicks and kept them secret. So in my assesment your a true artist who is going to keep increasing your vista's...Its a honor to have met you, and I am very greatful at the informative and timely fashion you have replied to me. I hope in a year or two we can work together. In the mean time Im going to keep my eye on you
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Thanks very much. It is a pleasure to help others in their enjoyment of things I enjoy.
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Like the others this is magnificent...great job you did!!!
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the sight of this caused something i can't spell to come out of my mouth...
amazing! since i have not the slightedst clue how this is done, i'm going to consign myself to calling you magic, ok?
wow.
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The non-digital magic is an easy trick: Tape a piece of paper to the wall. Thin some oil-base printing ink to a liquid with solvents. Pour equal parts ink and water into a cup and hurl the contents at the paper.
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nooo! I can't finish reading it. I prefer the comfort of knowing you're magical.
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I forgot, a good magician never reveals his tricks, right? But I once had a famous painter for a teacher and he didn't teach anything because everything he knew about painting was his secret. I never wanted to be like that, and I've succeeded -- I'm still a starving unknown at 50.
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but you're greatly appreciated and your art is loved by so many.
respect is a much better form of payment.
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I suppose, but it doesn't keep the kid in shoes.
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tis true. I've got three of my own.
secretly, between you and I, if there was a way I could live off
the arts, I'd do it. But it's not possible for me, and sometimes I wonder if it ever will
be a possibility. I can't reproduce anything I do, and it's seriously painful sometimes to
sell bits of myself. Does that make any sense?
The reaction I get is much stronger in person than in a photographic rendering, and I think
that's the part that keeps me. That look that says..can I please touch it?
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Ah very cool. Reminds me of some strange rock formations in a cavern.
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