This post analyses further researches in to present and absent media though repeated applications of paint and then removal to build a history of marks.
At the London Original Print Fair, I saw Basil Beattie’s mono-screenprints on Two Rivers paper. Some years ago, when I was painting watercolours, I bought some of this wonderful handmade paper, but have never used it, partly because I have moved on from mannered watercolours, but mostly out of fear. It is just too beautiful and too expense to leap into. I see the proprietors occasionally through canal and life drawing connections and at art fairs where they demonstrate the handmade process. They often have Oliver Lively demonstrating on their papers and his process is very interesting to watch, as he often scrubs away, quite violently, at the surface. Last summer, Oliver suggested that I buy one of their small sketchbooks to liberate myself of paper fear. This came back into my mind after see the Beattie prints and also some recent sketchbook disasters trying to paint on cartridge.
I have phoned Two Rivers to order sketchbooks for summer travel. Chatting about painting and printmaking on their papers, their advice was to use it, and then if that wasn’t a success, scrub it off under a tap and start again, because the surface sizing will take repeated media removal. Suddenly, this long drawn out thought process over their paper has played into my researches on adding and removing media.
The paper is highly textured and stiff as cardboard, with irregular deckle edges on all sides. For my experiment, I used acryl gouache, as I hoped that this could be removed, especially if not completely dry, but the acrylic content might mean that it would not be completely removed. I want to leave ghost marks, although i have no idea what their character might be.
Each layer has been allowed to dry a little more so that the marks have gradually become more defined. This latter layer was allowed o dry overnight and then a scotchpad taken to some areas. So, no paper fear now!
This, probably final, layer uses rich, black, barely dilutes gouache. The character of the paper is clearly visible even in the blackest areas.
This is amazing paper. I cannot decide whether this is ‘finished’ and whether it has any great merit beyond research, although, in that respect, this was a very useful experiment. I enjoy the rich and varied tones and the layers and variety of of mark. The final layer of marks was developed in response to earlier marks using a photo and drawing app on the ipad, but the sweep of paint at in the lower half has come out too symmetrical. This goes away into a folder for a while, to be got out later and considered more objectively. It may get developed, or completely painted or scrubbed out to produce a new surface, or left alone.