October 16, 2017

Surfaces, giclee transfer process for "Colour" exhibit

Surfaces, & giclee transfer process 

for "Colour" exhibit

below is a description of how I turned my digital paintings into hangable - fine art! 




East Facing at Dusk in Aberdeen
340 x 260


This painting I did a sketch for sitting in my car one evening recently. I refined throughout from that moment until I delivered it to the gallery, working digitally and ending with paint overs in oil on top of transfer glaze. That is the stuff that is left on my prepared panel once the paper is rubbed off. 

So there are quite a few steps here, starting with painting on loaction using mostly procreate and adobe sketch on my ipad. Then they are 'printed', but not in any conventional sense either, by way of a bit of a gluey sort of compound (Dont get it on your hands, trust me!) but which is oil based. This "film" pressed to the panel is my Giclee. I work on top of this with more paint.



A print being revealed underneath rubbed off paper, adhered to the panel.

The print grade is standard lazor, but good on thick printing paper. In using this technique its not the quality or thickness of the paper thats important but rather the layers of glaze used. I found two sufficient depending on how well they adhere (it can tend to bead on certain papers). This is spunged onto the print. Once again, the under panel is fundamental as you will see through the glaze to the underneath, white painted and prepared well if at all possible. I think Ive explained my process on preparing these (surfaces/panels) in an earlier post. One can work with the transparency potentials here.





Its important to get all the paper off properly and this takes getting the knack of. Above is a close up photo of a portion of my painting showing a spot of paper that I didn't get off early enough, (I had already rubbed linseed oil into the transfer once printed to the panel), so a cautionary there but which I accepted later as a textural element. The linseed helps bind the print (in theory) and makes it wonderful to paint onto too. I apply two or three coats and polish in. And then work over as much of the surface as I can, matching colours and glazing with my medium. I am able to completely change a piece in this way as oil paint is after all a good opaque medium. In some cases I do, as the initial print is just a very rough sketch. Its quite rewarding to do, especially for me since I am always conscious of the overall concept starting with sitting in front of my subject, and at times the painting is even worked with in reverse (when printed to paper) and also covered up and gradually revealed. It all worked out wonderfully, andonce again was thrilled to be a part of the group exhibit.



"Neu Bethesda morning light"
240 x 250
giclée and oil on panel


Paintings for the "colours" exhibit can be seen on my  main page above.  



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