I did an incredible assortment of oil mono prints starting in the late 90s, about the time my only child became an adolescent and I had all this time and energy that she wasn’t interested in, so I became addicted to exploring the mono print process. My brain delights in printmaking because it’s always a surprise. You create an image on a plate, put paper on it and run it through the press, and when you pull the paper off it’s a reverse of the image on the plate. I got obsessed with cutting stencils and embossing the paper and flipping the embossed stencils on ghost prints (second run of the plate) – it went on for years and I created literal piles of prints. Some of them framed and sold or now hanging in my house, many of them beautiful but not necessarily framable to my eye, but I kept them – all archival beautiful papers.
I took a workshop with Randi Parkhurst this summer, as part of the bi-annual Focus on Book Arts conference that takes place in Forest Grove, Oregon. She utilized this structure frequently in her artwork, as feet on standing structures, jewelry, and just happy little objects. Use a circle punch of any size, cut 8 circles, bone fold in half with display side inside the fold, glue the half circles together to get a beautiful, dimensional paper work of art. I loved using my prints for this, and had to stop myself from not using them all, as I have other ideas for some of those works.
Here’s what I did:
I took a workshop with Randi Parkhurst this summer, as part of the bi-annual Focus on Book Arts conference that takes place in Forest Grove, Oregon. She utilized this structure frequently in her artwork, as feet on standing structures, jewelry, and just happy little objects. Use a circle punch of any size, cut 8 circles, bone fold in half with display side inside the fold, glue the half circles together to get a beautiful, dimensional paper work of art. I loved using my prints for this, and had to stop myself from not using them all, as I have other ideas for some of those works.
Here’s what I did: