(To access past newsletters, please click here.)
NOTES FROM JENNIFER VONSTEIN
More Fun With Free Flow
As featured in Australian Artist Magazine - click to download the article
One of the great things about Atelier Free Flow is that it's just a fun paint to use. As I mentioned in the article found in the September 2019 edition of Australian Artist, I was tired of creating "heavy" paintings and I wanted to experiment and enjoy the painting process. Because Free Flow is a fluid acrylic, it was perfect for these experimental pieces. I could work quickly and loosely as well as explore techniques such as printing into my work. Free Flow is a professional, lightfast acrylic paint, so even though I was "playing with paint," I was still using archival materials in case any of these pieces evolved into something interesting.
The first thing I did was change up my surface. I usually begin my paintings on canvas that I've primed with gesso (the coloured Atelier Free Flow Gessoes have been my go-to gesso for some time) but I decided to work on a heavyweight watercolor paper. I also chose to use a Gelli Plate, which is a durable, reusable gel printing plate, most often used for monoprints. Free Flow has a nice consistency for printmaking (you don't need much paint), and I applied some colour with a brayer and added a handmade stencil onto the Gelli Plate.
Atelier Free Flow Quinacridone Magenta, Titanium White, Arylamide Yellow Light and handmade stencils on a Gelli Plate
Tip: If you feel you have too much paint on the plate, pull some off using scrap paper or paper from the recycling bin. I was ready to pull my 1st print.
Pulling the print
The 1st Print
I liked how that looked, so I quickly created variations on the theme, choosing Free Flow colours that would complement one another when printed one after the other. I didn't have to clean my plate between prints - I just used that same piece of scrap paper to pull any remaining paint on the plate.
Pulling another layer of Cobalt Turquoise Light and Arylamide Yellow Light
I created textures on the plate by removing some paint with rags, netting, foam stamps, a spool of thread and bubble wrap. I even used a paper towel for the pattern and to make a soft edge stencil. I pulled excess paint and made ghost prints after each pull, creating a secondary pattern.
And another layer with a paper towel texture...
Excess Paint/Ghost Prints - you can really see the paper towel texture on this
I continued to move my surface around until the entire page was covered with an allover design I liked.
One of the great things about this process was that I remained unattached to the outcome (for the most part). Of course, I wanted to create something good, but during this studio time I wanted to approach my work in a different way than I normally do. As Oscar Wilde said, "Art is the only serious thing in the world. And the artist is the only person who is never serious."
Who Am I?
I am Jennifer VonStein, and I have been Chroma’s Resident Artist for almost 13 years. I work primarily with acrylics, oils, watercolors and mixed media/collage, and I do my best to help artists with their practical considerations or concerns about materials for their art. Although I am based in the USA, I consult with artists worldwide and will be writing some articles along with Chroma’s founder, Jim Cobb. If you have feedback or any questions you would like answered in a future article, please email me at firstname.lastname@example.org.
Share Your Artwork With Us
We would love to share your mages on our different social media networks in order to create a community of artists. If you use Atelier Interactive, Atelier Free Flow, A2, Jo Sonja or any of the new Mediums, please let us know! Email us at: email@example.com.