#altered prints

[whereyousleepatnight]

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[pittoresko]

[pittoresko]

Altered Art Painting. "Portrait of the Countess Lily de Roussy de Sales" (1888) by Carolus-Duran (1837-1917), French painter.

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Altered Art. "Madame du Barry" (1782) by Élisabeth-Louise Vigée Le Brun (1755-1842).

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Vintage Altered Art. "Portrati of Maria Godlewska Née Popiel" by Wladislaw Czachorsky, Polish painter.

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Altered Art. "Portrait of the Countess of Tournon" (1812) by Jean-Auguste-Dominique Ingres.

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Altered Art. "The Orange Dress" (1926) by George Spencer Watson.

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[onehourart]

Ink on our Desks: Monoprints to Altered Prints

Printing with elementary school students - yes it's a bit wild. There's something liberating about applying ink directly to the top of your desk; usually there's some pressure to keep it clean and tidy. This really a Two Hour Art project, as the prints must dry thoroughly before collaging.

To make the monoprint, we used brayers to roll water-soluble printing ink directly onto our cleared-off desks. With cotton swabs, brush handles, and gloved fingers we drew quickly into the ink. Putting a piece of contrast-color paper on top, we rubbed it gently all over and gently pulled up to reveal our print. I found that having the students wear nitrile or latex gloves prevented the impulse to make handprints.  Usually only one print (mono = one) can be made this way, sometimes there is enough ink for another one. Because the image we draw in the wet ink is reversed in the print, it was requested that no letters or numbers be included. But some of us wanted to practice backwards-writing. The ink dries fast, so we can put a new color on top for the next print without cleaning the desk. The layers of colors show through as we scratch into them, adding depth and mystery. The prints are set aside to dry thoroughly. I mounted some prints to large sheets of colored paper.

Hour Two. Our next session: using a ruler, we drew parallel lines dividing our prints into strips, then numbered them. We used our scissors to carefully cut the strips apart, then laid alternating strips of two different prints on two large contrast-color sheets of paper.

Prints with a strong image were kept whole and mounted. "Failed" prints that seem to be all texture, blurry or uneven are good candidates for collages, but combining two distinct images is interesting too. There's something thrilling about cutting up two pieces of art to make two entirely new ones. Some artists traded and donated prints.  

Gluesticks were used to attach the strips to form two new altered, or changed, prints. Some students then created more altered prints with different-sized and shaped strips and pieces. An important step is mounting (I used a stapler) prints to a large contrast or complementary color sheet, to frame it and intensify the color. Presentation is vital! Then all prints are displayed on the wall. Some altered prints are serene and quiet, some are jazzy and excited.

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