A Drypoint Landscape

Alice Cook, One Step Away, 2014, Drypoint

On a 5" X 7" zinc plate, I scratched in this landscape.  I tried different techniques with the needle.  Sometimes digging deeply with the needle and sometimes applying light pressure.  The mountains and the lake are the focal point of the picture.  I made five editions of this plate, each utilizing different wiping techniques.  With this edition I wiped the center of the plate clean with the tarlatan, leaving ink on the outer rim of the plate.  I like the effect that I got after running it through the press.  This one is my favorite of the five, and thereby stamped it with the emblem of love.  Enjoy!

Seascape Using Glazing Technique

Bright Ending, Alice Cook, 2014, Oil

Inspired by a J.M.W. Turner painting, I decided to try my hand at painting a seascape at sunset.  I used the glazing technique, putting on layer after layer of thinned oil paint.  To thin the oil paint I used a 50:50 mixture of linseed oil and turpentine.  I did not mix the colors on the palette, but allowed the transparent washes to mix on the canvas.  There are 7 to 8 layers of paint on this canvas.  I am pretty happy with the results, especially since it is my first time using the glazing technique and this being my first seascape in oil.  The painting is done on stretched canvas that is 11" x 14".  Enjoy!

A Bright Idea

Bright Idea, Alice Cook, 2014, Oil

I recently completed this oil painting.  It is a take on Saint John's revelation from God.  Here the clouds part to impart a revelation to Saint John, hence the title "Bright Idea."  I started this painting a few years ago in a more realistic style, but never finished it.  So taking it up again, I revamped it into a different representational style.  The shading or modeling is done by strips of light, medium and dark colors put side by side without blending them together.  This non-blending technique produced interesting results and was fun to paint.  Enjoy!

After Rembrandt

After Rembrandt by Alice Cook, 2014, Drypoint

The original Rembrandt etching had more people and the angel leaving the scene.  I did not like the look of staring at the angels feet and up its dress, so I drew the angel coming in with a proclamation.  This print is the Artist's Proof and came out the best.  This work was done on a zinc plate, 5"X7".  The paper is BFK Rives white.  I tried to imitate Rembrandt's cross hatching technique to provide dark areas in the scene.  I personally love Rembrandt's prints and they move me to awe.  Enjoy!