GALLERY OF FINE ART
All images exhibited on this site are for viewing only. No reproduction rights are granted, licensed or authorized in any form or manner and are hereby exclusively reserved by Lorraine Hayes
Although I studied all the art disciplines I prefer working two dimensionally. Painting and printmaking are my preferred mediums. I enjoy using watercolor and acrylic on paper as well as canvas but frequently incorporate pencil, ink, and pastel into my artwork. I use the acrylic paint both as watercolor and heavy paint depending on my imagery. I have also incorporated textural materials such as sand applied with mat medium, gesso, or acrylic gel. These materials allow my surfaces to become tactile and rich and the color does amazing things as it is applied over the sculptured areas.
Surfaces for painting include rough watercolor papers ( 300 lb Arches), smooth papers (140 lb Lana Aquarelle), and watercolor canvas. I also have applied sand to all these surfaces to paint over.
In the past I have done lithography and chemical etching using metal plates, but I now prefer the collograph. It is a non-chemical and less toxic method of preparing a print surface. I also like the relief print and monoprint.
For a Collograph surface I prepare the surface by sealing a piece of mat board with acrylic gloss medium and then I glue with acrylic medium materials such as organza, aluminum foil, dried grasses, or sand, over it. After more applications of gloss medium I either roll, pat, brush, or wipe color on, before printing the image with an etching press.
For the relief print I carve surfaces with a Dremel tool or a dental drill. I cut into medium density hardboard (MDH), SpeedyCut, or art linoleum from art supply sources. I then roll or brush color over the carved surfaces. I dampen the paper and use the press for the harder surfaces but the SpeedyCut I usually stamp by hand on my paper.
I use two methods for monoprints, a direct process and a reduction process. My inks are either water base or oil base inks. I use Plexiglas as a surface for both processes. I make a drawing of my image and fasten it to the underside of the Plexiglas, then apply color to the top to make the image. A damp piece of print paper is carefully placed over the Plexiglas and it is turned through the press. This is the direct process.
The indirect method is to roll each of the primary process colors (yellow, red, and blue) individually over the Plexiglas and wipe out where I do not want that color. I begin with yellow and end with the blue. The latter develops the detail. I use oil base process colors and damp paper to make these prints.
In both monoprint processes additional color can be added to the image by carefully registering the paper over the Plexiglas so that the paper is in exactly the same place each time I print the additional color.