Matrix Maintenance
Clay dries quickly — an obstacle the clay monoprint artist can not ignore.
Like any clay, the matrix that works are created on will gradually dry when exposed to air over time. In dry rooms, the matrix may start to have small cracks while working on a project. The problem compounds over time, with cracks increasing in both number and size. Because of this issue, clay monoprint artists need to take care of the matrix that they use.
Shown above is my primary clay matrix after pulling a print. The wooden frame is visible around the clay slab. Left sitting in a typical room, the clay would very quickly begin to dry, cracks would form, and eventually, the slab would shrink and pull away from the sides/frame.
When I am finished working with the matrix, I spray the clay surface with water and then cover the matrix with thin towels.
Depending upon how dry the slab and room are and how long one expects to be away, the towels are sprayed with water or placed onto the matrix already slightly wet. (Soaking wet, however, could muddy the surface clay.)
Finally, a plastic sheet is placed over the towels and matrix, and the edges are tucked under the wooden frame.
(For my smaller student boards, which are used less often, they are then slid into a large trash bag with the drawstring then pulled tight. They still need to be pulled out occasionally to add more moisture. This necessity has led me to gradually keep fewer student boards on hand — one reason I no longer lead larger workshops.)
A clay monoprint artist’s matrix gets lonely and must be visited often! If not, it will express disappointment with a new batch of cracks. On the other hand, give it regular attention, and you’ll find it sticking with you for years!
City's Edge
Due to the relatively short history of clay monoprints as a medium, creating one always feels like an experiment. This is particularly true as I try to see how the prints interact with other mediums.
City’s Edge, ©2024 Andrew T. Smith. Clay Monoprint, Watercolor, Watercolor Pencil, and Acrylic
“City’s Edge”
16” x 20”
Clay Monoprint, Watercolor, Watercolor Pencil, and Acrylic
Andrew Smith / Visual Realia Studio
Due to the relatively short history of clay monoprints as a medium, creating one always feels like an experiment. This is particularly true as I try to see how the prints interact with other mediums.
Clay slip without pigment is an off-white, somewhere between grey and white. Unfortunately, one limitation of clay monoprints is the difficulty in getting a true white or a deep, rich black. I set out to use both via acrylic paints in this work.
To offset the dark city, nature speaks up colorfully in the foreground.
In both instances, the shapes and colors were present in the print, but I sought to emphasize what the monoprint brought. The use of watercolors and watercolor pencils helped with enhancing color. The monoprint, acrylic, and watercolors each bring subtle textural differences, as well.
Most monoprint images I share here are “cropped” to show only what will be visible once framed. In the photo immediately above, I thought it would be instructive to show the entire surface of the print before framing. The edges with less color can be caused by the wooden matrix (clay slab) frame or the taped edge where I intended to end the print. These areas will be trimmed or hidden by the frame.
Patchwork
“Patchwork” — Clay Monoprint by Andrew Smith of the Visual Realia studio.
The Past just left. Its remnants, I claim, are mostly fiction. We're stranded here with the threadbare patchwork of memory, you with yours, I with mine."
— Denis Johnson
"Patchwork"
Clay Monoprint on Pellon
8" x 10"
Andrew Smith / Visual Realia Studio
The square and rectangle blocks, newly added for this work, interplay with the large central yellow diamond and green and blue diagonal stripes, all remnants (patches) of previous works.
For the new elements, I purposely wanted to utilize my lesser chosen color slips, including siennas, umbers, red iron oxide, French rose madder, French yellow ochre, and the onion skin dyed slip.
Jingle Ball 2021
Top image: Adams County Arts Council
Adams County Arts Council's Jingle Ball
Saturday, December 4th, 6-11 PM
The Gettysburg National Military Park Visitors’ Center
I’ll have only one hour at the Adams County Arts Council’s annual fundraising gala, the Jingle Ball, to design, paint, pull, seal, and frame a print that will go up for auction to benefit the non-profit. Should be challenging — and fun!
The bottom portion of the image above shows the clay matrix that I’ll be designing on prior to the gala. Some of these elements may impact the finished print.
Clay Monoprint Workshop — November 2021
Andrew Smith is offering a one-session clay monoprint workshop at the Adams County Arts Council in Gettysburg, Pennsylvania, on Wednesday, November 10th, from 1-4 PM. Participants will use printmaking techniques with colored clay slips to create vibrant monoprints. Basic techniques will be introduced, followed by an open studio format where artists can explore and create their own works. Everyone will leave with two completed prints.
Questions may be directed to Andy at ostman4200@comcast.net. Registration information is available at:
https://www.adamsarts.org/portfolio-item/printmaking-with-clay/
"Pigment" Reception & Exhibit Extension
Andrew Smith’s (Visual Realia) “Pigment” exhibit is extended through August.
The “Pigment” exhibit of clay monoprints by Andrew Smith of Visual Realia has been extended through August and refreshed. The exhibit for the month has twenty-six works, with seven prints new to the Gallery display.
The exhibit can be seen during the Adams County Arts Council’s regular hours, or by contacting Andy for after-hours access. In addition, the exhibit will be part of the Arts Council’s First Friday reception, running from 5-7:30 PM on Friday, August 6th. Andy will be present and will have the clay matrix used for the prints in the gallery. Questions are welcome!
The Adams County Arts Council is located at 125 South Washington Street, Gettysburg, Pennsylvania.