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Make graceful and lasting change


Cindy Tonkin - April 13, 2024

Sydney Book Art Group (BAG) met on Saturday and Lisa pulled out a truckload of gorgeous gelli prints she had made.

I don’t have a gelli plate and I don’t quite have the head space to make one or buy one. But i do have a large piece of glass from my fridge which is about 30cm deep and maybe a metre wide.

I went home from BAG and made prints.

I pulled out my box of paints which have been mouldering on my shelf for more than a few years (I think the last time I painted with acrylics was the kimonopoly series at Hart house while Nicola and Sarah were at Sturt, Summer 2017.

My acrylics are mostly OK still (the first few drops from the tubes are sseparated, but otheriwse ok).

i used some old alkyd/fast drying oils which I have never used, having bought them on sales maybe 15 years ago. they were all dried up, so after some research I added some sunflower oil i bought for printmaking when I did the Glenn Skien printmaking thing in Sturt 2018 or 2019.

I then started reconstituting some old gouache James and I bought to do a grphic design course in the 90s – 30 year old gouache is dry in the tube, but i salvaged some. Mostly only red and blue left and so much became purple, not my fave thing, but now i’m adding other coloured layers it’s working better.

Then when i wanted some variety i pulled out my acrylics. Bernard had given me some brown and some gold, so i’ve used some of that, and progressed to some black and some prussian blue which ended up being more of a blue/grey/black with the dirty palette.

Here are some of the outputs, with several layers of just pattern and some monoprinting, some drawing into the piece.

as always with a printing process I get obsessive, wanting to see what happens if i add less or more paint, if i let it dry, spray it with water, mix the colours, clean or don’t clean the palette. the best kind of fun.

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