These are a few of the acrylic paintings on canvas that I've completed over the last year.
I enjoy switching from one medium to another on a frequent basis, and have been on a roll lately with acrylics and oils, alternately. I seem to prefer oils for landscapes and plein air work, but gravitate to acrylics for larger, more illustrative work.
The top one recalls a chance encounter in the woods. I was hiking and a fox met me on the trail. We both sat within a few feet of each other for quite a while, just staring. It was wonderful to be able to look so closely at the beautiful fox in front of me. It's eyes were so compelling ! At last, the fox made a little sniffing sound, turned and calmly walked back down the trail. Apparently we had come to some sort of agreement. I turned around and returned respectfully back down the trail. The painting is called Messenger in the Woods.
The second painting was done later. I just couldn't stop thinking about foxes, so decided to paint another. I haven't given this one a title yet.
Here are three examples of my latest Art Journals with hand painted covers and bright embellished spines.
After searching around for brightly colored and patterned spine cloth, I finally decided to make my own. and found that it is not hard to do. The process involves bonding fabric to tissue using a product called Heat and Bond Ultra, which is a very strong heat reactive adhesive. This makes a strong and durable spine cloth, and allows me to choose my own fabrics to use. So now, the possibilities are endless.
The spines are also embellished with long strings of waxed linen and beads.
If you choose to embellish the spines of your journals, be sure do so in a way that allows the beads to move out of the way when working in the book.
The beaded tassels on these journals can be flipped up and out of the way when working in the books.
These books are all 6x8 inches and have 3 signatures of heavy weight paper for mixed media. Just right for painting, drawing, writing, and collage work.
The covers were hand painted with acrylic paint using masks and stencils that I cut myself.
They should make great Art Journals !
I've started to explore mixed media on canvas and find the larger format pretty exciting.
The years of working mostly in my journals has helped me evolve to this different format.
In this work, much of the background is made from cut and applied papers, some of which are from old book pages. All are applied with matte medium, and layers of thin paint give them the color variations.
The Raven is purely acrylic paint.
After finishing this piece, I'm ready to continue more work on canvas, in addition to the work in my journals. It's good to set new challenges !
I was recently asked to be featured on the Elusive Musewebsite which is run by artist Thomas LaBadia.
If you are not already familiar with this wonderful site, please spend some time discovering the rich offerings there. It's a resource for inspiration and collaboration for artists, and such an honor to be asked to do this. Thomas made everything so easy for me, and did a beautiful job of selecting and posting my work.
I recently purchased the new eBrush by Craftwell to use in my journal, and I am so glad I did.
It works great for creating backgrounds, so I have had fun with that!
On the above page, I used a variety of stencils and Spectrum Noir markers with the eBrush, then applied an altered image that I purchased from Mischief Circus. When I work with purchased or found images, I use Adobe Photoshop to alter and resize them. Then the images are saved onto a flashdrive which I take up to the local Copyworks to have laser printed on good quality paper. Working with laser prints is far superior to working with inkjet prints if you intend to use any wet mediums on the pages. Laser images are water resistant, whereas inkjet prints tend to bleed color into wet mediums.
Above is another example of pages with eBrushed backgrounds. Here I cut my own masks out of card stock and worked in color layers. Both of the above page spreads are ready for detail work and writing.
And here is a finished page spread. Again, the backgrounds were done with the eBrush and markers. Collage elements were added and then the writing and some detail work with Prismacolor pencils.
It's nice having the backgrounds all ready to work on, especially when I want to take my journaling with me, and don't want to carry a lot of art supplies. I can take a few pens and my journal and enjoy working almost anywhere. And with so many ways to create backgrounds, the possibilities are endless !
Like many others who have discovered the joys of Gelli printing, I have accumulated a large collection of beautiful printed papers. Lately I'm using them in combination with bookbinding to create unique covers and end papers.
I'm printing with acrylic on paper that is heavy and durable enough to make good book covers, and bonding them to book board. Above is a recent example, and you can find more on my Etsy Shop.
The end papers are also Gelli printed using coordinating colors. When you generate your own decorative papers, your artwork takes on a new level of originality. In addition, the whole process of Gelli printing is so much fun !
Enjoy and explore different ways of using your prints.
After a few very unproductive and troubling months, I decided to join a group of local artists that meets once a week at the Hearst Center for the Arts. Not knowing what to expect, I focused on monoprinting backgrounds for future collage work. Soon, most of the other artists were introducing themselves and new friendships were beginning. They were all so welcoming that I felt right at home, and started this piece. Sharing studio space and creative energies can be like magic, and was apparently just what I needed to recharge my spirit. I was back to working in my studio several times over the next week. So nice to feel that excitement as the work progressed.
I returned to the group again this week, and finished the piece.
The lesson I learned is to seek out the company of other artists, and enjoy the sense of community in a shared studio space. The exchange of ideas, inspiration and general support is a wonderful thing.
Monoprinted background, collage, paint and colored pencil.
I love printing with Gelli Plates ! I have purchased one in every size available, and they are great.
I've never tried making one of my own, because up until now, I thought you could only make the kind of gelatin plate that had to be refrigerated to retain it's firmness for printing on. Seemed like too much work, considering how easy the commercial Gelli Plates are to store and use over and over indefinately.
Recently I ran across some information indicating that a permanent gelatin plate could be made from simple ingredients. Of course I just had to try it! Here is the resulting gelatin plate that I made, and some pics of the trial run printing with it. I will include the recipe that I used at the end of the post.
However.... while I think this plate works fine and will hold up over time if treated with care, it did cost around $12 to make this one which is 9x9 inches. The cost effetiveness is really not so great, especially when you add in your time and mess, but it was so much fun to experiment.
You can see that the plate is like very soft plastic, and does not require refrigeration. I would, however, store it in a protected way. I am keeping this one on the sheet of glass, covered by the glass cake pan that I made it in.
This plate was "cured" for 2 days, and is slightly softer and a little stickier than the commercial brand.
Acrylic paint rolls out just fine ! The plate seems to "grab" the paint nicely.
The first print I pulled came out crisp and clean. Here I used some shapes cut out of Tyvek, which can be used over and over again. The paint only makes them stronger! I use recycled Tyvek mailing envelopes to cut shapes for masking.
After pulling a "ghost print," I removed the masks and revealed another layer for printing. I always work on 4 or 5 pieces of paper at one time to take advantage of all the printing possibilities.
Here are the results of my simple trial run. The home made plate worked fine!
I did make the mistake of using a stencil that had some dye based ink residue on it, and it did stain the plate. I'll avoid that next time.
Recipe and Instructions:
7 packets of Knox unflavored gelatin powder
1 1/2 cups (12 oz) pure glycerine [I found glycerine at a local drugstore.]
1 1/2 cups (12 oz) boiling water
You will also need a strainer, something to stir with, 2 bowls, and a flat glass pan in which you intend to pour your final plate.
Get the water to a full boil. (I microwaved it in a large pyrex measuring cup)
Add the powdered gelatin packets one at a time, slowly, and stirring. At this point you will think it might clump up... and it will be lumpy. Keep stirring and working with it. Eventually the heat and stirring will dissolve most of the lumps.
When you have most of the lumps worked out, strain the hot mixture into a second bowl, then strain it back again, this should remove the remaining lumps.
You will need to use HOT water to clean out your strainer after doing this.... it's kind of messy and sticky.
Add the glycerine to your mix, and stir gently but thoroughly. Try to avoid getting a lot of air bubbles in it.
Pour the mixture into a glass pan to set up. If there are air bubbles, try to work them out. I used a kitchen knife to skim them out.
Cover the pan and place in refrigerator (LEVEL) for 2 hours to start the plasticizing process.
Remove from refrigerator and allow it to set and cure for a day or so. I let mine cure 2 days.
[ I read somewhere that it is not absolutely necessary to refrigerate it to start with, but it seemed like a good idea to do so.]
When you are ready to remove it from the pan, use a knife to release the edges, turn the pan upside down over a clean surface, and coax it out of the pan. Gravity should make it plop right out once you get a corner started. Place it on a flat surface, like a piece of plexiglass or glass, or a flat cookie sheet. Keep it covered when you are not using it.
Try it out !
Again, when all is said and done, you may feel that the commercial product is easier to obtain and fairly priced, but if you enjoy experimenting and want to take control of the shape and size of your plate, this might appeal to you. It was a fun learning adventure and I'll be using my home made plate for quite a while, along with the others in my collection.
One of the things I love about Mixed Media is the freedom to experiment with any combination of techniques together on the same surface. It's always a new adventure to see how one medium plays with another.
For this journal spread, I started with layers of colored mono prints, using a Gelli Printing Plate, for the background.
Collage elements were added, and I used black and white pens and pencils to make the Zentangle drawings around the face.
After the drawing was completed, I added the quote to the facing page, and a bit more work over all with black and white colored pencils.
There are no rules in Art Journaling, which makes it easy to work intuitively and let your ideas flow.
I have been playing with a layering method using the Gelli Printing Plate and inexpensive acrylic paints. The key is to allow the first 2 layers to dry, and the third layer bonds to them and they all lift off the plate together. The idea was presented in this video by Barbara Gray and I couldn't wait to try it out ! The above print was one of many I made today.
Then I started thinking about all the possibilities for altering the printed image in Photoshop. I scanned the original print and started applying different filters....
The one above used a filter called Poster Edges, and the one below is Ink Outlines. You can adjust the density of the filters as you wish.
The last one used a Gradient filter to make the whole thing sepia tones. The possibilities are almost endless for making background pages and collage papers using this method. Have fun !
I've been taking an online class with one of my favorite artists, Michael DeMeng, called Punk Fiction and Cave of Pages. In the class, we have learned some great techniques for altering a book cover, and then creating an interior using a variety of mixed media and assemblage techniques.
For my theme, I chose Nosferatu the Vampire.
Using a small hardbound journal as my structure, I altered the cover using layers of Aves Apoxy Clay, and a variety of metal objects, including some small brass letters that I was able to embed in the surface. Painting techniques were then applied to create the desired effects.
The interior was then carved out to create a niche for the portrait of Count Orlok, Nosferatu. The edges of the niche are covered with pieces of an antique map, and painted with several layers of paint to enhance the aged effect.
I began the portrait with a black and white photograph of the character as portrayed by actor Klaus Kinski in the 1979 version of the movie. Using photoshop and acrylic paints, I altered the photograph, mounted it with a leather mat and cut a channel for a piece of clear glass to cover it. This was then secured behind the block of pages with the carved niche, creating a box-like effect.
The facing cover is embellished with a thick piece of brown leather on which I stitched a key and a piece of elaborate waxed linen knot work. Two strips of black leather hold the knotwork in place and the whole piece fits nicely into the niche when closed.
The interior edge of the niche is covered with antique brocade, which is further "aged" with paint.
The spine of the book was reinforced with dark brown leather and decorative copper nails.
The two teeth on the cover pay homage to the unique look of this vampire, whose trademark fangs were placed at the front of his mouth rather than in the more common canine position. I've always thought Nosferatu had the most frightening apperance of all fictional vampires for this reason.
I think it's finished, but like all projects, it may get an additional tweak here and there as it sits on my work table a while longer.
The class has been great fun, and I have another book in the works, waiting for the interior work to begin.
For anyone considering taking a class with Michael DeMeng, in person or online, I would highly recommend it. You will learn so many creative techniques that can be applied to your mixed media projects. I've taken several of his classes and keep going back for more.
There are two things in my life that have been constant, no matter what: art and the need for unstructured time to play. I am a compulsive maker-of-things who believes that every day must have some time set aside to feed the creative spirit. This would include making art, looking at art, reading about art, experimenting/playing with materials, learning new skills, and general studio art-play. To support my habit and spread the joy, I have been an art educator for 38 years. I have recently retired from public education. I will try to share some of my adventures in both art and play here in this space.