I got started working big again, this time with drip backgrounds like I'd started at the Abstract in VT workshop with Jane in 2015. One of these actually IS a Big Fat Art piece from that workshop and the other two are painting to music loosening up pieces for this summer's workshop. All are on cheap drawing paper. What I've learned from working on these so far is that I want to do more big pieces, and I want to get more texture. Ergo, I'm going to start some on heavyweight Stonehenge printmaking paper and 20×24 canvas. Time to start thinking about winter projects!
BFA piece. Who knows what's under all that…going for a sort of street art-graffiti look here
These three started as a series riffing off the first one. The plan was to use a similar color scheme over the drip backgrounds.
This one is going to get a lot of that turquoise covered with black…
I don't know exactly where this one is going, but I love the top!
These things are becoming somewhat addictive. While I'm working on one, I keep thinking of different palettes I want to use. I figure I'll come up with quotes to add later.
We've reached the end of March without much sign of spring here in VT except a few disappointed red-wing blackbirds who hung around the feeders out back for a couple of days. I suspect they've retreated south again; I heard a distinct “WTF?” In the usual red-wing calls. We're nursing another sick cat, and when I can't entice him to sleep on my lap, I've been working on this journal spread.
Acrylic, graphite, watercolor crayon, charcoal pencil, marker
I got the glue gun stencil idea from Jane Davies, who got it from Tracy Bautista. I used mine over Gelli prints to start, using Dylusions sprays. Lots more experimenting to be done!
Here's a piece of 'mop up' paper from Gelli printmaking that I used to mop up the excess spray on the stencils. That Dylusions goes on and on. This may be my favorite piece so far. The lighter acrylic paint makes a nice resist.
Okay, Lesson 2 at last. My Golden gel and matte mediums always seem too dry and stiff for image transfer so I tried using Utrecht matte medium and I like it better; the transfers are a bit thinner and stretchier than with Golden but they're smoother and less likely to crack.
Here's my first piece. This is an image from a Dover royalty-free CD. I call her 'The Frenchwoman' because she reminds me of a figure from a Seurat painting, so I went with an impressionist feel. The background text is all in French. I found the headline on the right in a Montreal newspaper; it translates as “How does one manage artists?”, which gave me a chuckle.
The one below is me at about 3 or 4. All the background text is from a 1968 Jack and Jill magazine–but don't let me date myself…I was trying to go with a kind of childlike painting technique. Not sure I like it but the colors are good.
Here's Moose working on Big Fat Art…really, that's what it's called! 😉 it's a perfect medium for him…
I love this quote. I decided to use it on the second plastered (joint compound) spread, this one in my Strathmore journal. I did the same thing in this that I did in the Moleskine but I probably could have skipped the tissue as it doesn't really show through; I was much more liberal with the joint compound and sealed it before painting this time so it didn't wear off. I also used a watered down charcoal gray acrylic over all to bring out the texture and a few India and acrylic ink splots for contrast.
Tim Holtz Bigz alpha die letters. Love this die and was definitely worth buying (on sale!) but had to shim it ever so slightly in the center–literally, a piece of cardstock taped to the back center did it–or some of the letters wouldn't cut cleanly. Shaded the letters with charcoal–it's the details!