Painting with Ink

TP_Example 2Painting with ink creates remarkable effects. The ink that I prefer is made by Ranger Ink: Adirondack Color Wash and Dylusions. The ink comes in a spray bottle with a fine mister. It is consentrated and can be diluted with water; mini misters are the best for this.. Color Wash has a muted palette. The colors have an earth quality. Dylusions on the other hand, are vibrant colors. They can be used together quite well. Smaple colors: Color WAsh: Eggplant, Espresso, Butterscotch. Dylusions: Vibrant Turquoise, Pure Sunshine, Polished Jade. The names alone suggest the tones.colorwash

Product description:

Dylusions Ink Spray

Dylusions Ink Spray dyes are a high quality, acid-free, non-toxic concentrated colorant for porous surfaces. The Dylusions Ink Sprays’ bright and vibrant palette will colorize paper, Sticky Back Canvas, wood, paper, clay and more. Use to create backgrounds on cards, scrapbook and journal pages, and in mixed media art projects.

■Concentrated colorant for porous surfaces
■Acid free and non-toxic
■Fine mist sprayer
2 oz bottle

Adirondack Color Wash
The Adirondack Color Wash featuring Tim Holtz is an acid-free, non-toxic, water-based dye developed for use on paper, fibers, fabric and more. These earthy and bright spray dyes will colorize paper, fibers, fabric, wood, paper clay and other absorbent surfaces. Ideal for paper crafters, mixed media and fabric artists alike. 2 oz. bottle.

Spraying vs. Painting

Spraying color onto a surface such as paper results totally different than painting. Painting with a brush (most of the time) reveals the marks made; looking obviously “painted”. Now, of course this is certainly highly desirable and exprected by many artists such as oil painters. I have reallized that mystery develops when it is not obvious HOW art is made.  I like that.

The other quality feature of (spray) painting with ink is the immediate results. Just a few pumps applies quite a bit of ink with rich and vibrant colors. You have many options. Create textures or go for smooth. Fold, pleate, twist, crumple the paper; anything goes; vary the papers and vary the methods.

LEARN TO USE THESE INKS IN MY NEW ONLINE COURSE: MIXING UP MEDIA

THE ACADEMY OF QUILTING 

Detailed instructions are given to create a LOOK. You may follow the designs provided or better yet….venture off to create your own LOOK.

click images to enlarge

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Current Look-Dylusions color palette

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Historic Look-Color Wash color palette

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Abstract Look-Dylusions color palette

Sign ups are now open!

These fabulous  inks are the primary medium for this course. You will learn a lot about how to use them and a lot more. I am very pleased with this new course. I encourage you to check it out HERE.

 

 

The Academy of Quilting-Opportunities Abound

The Academy of Quilting is a wonderful resource for learning about all sorts of topics related to quilting, fiber arts, textile art and more.

My new course MIXING UP MEDIA is now open. Start date: March 6th.

Check out the supply list. Realize that when working with mixed media….you need to have quite an assortment of tools, materials and mediums. Please do not be put off by the list. I think it is important to be thorough to provide each student with detailed information.

The main medium is: Ranger Ink Color Wash and Dylusions.  These inks come in 2 ounce spray bottles. They are highly concentrated. A little goes a long way. I have used Color Wash for over nine years. I love the versatility of it. Dylusions is a newer product. I have just begun to include it. The difference is in the color qualities. Color Wash has an “earthy” base; sort of brownish in tone. They are rich and glorious. Dylusions are clear and bright; very rainbow like. Both have the same properties.

The main reason I like this product is the effects I get are amazing. I have not achieved such w0nderful (surprise) textures, color combinations and elusive qualities with any other product.

I do not have an affiliation with the company; although, I think they would be thrilled to know about my praises and the course.

Here are some examples of superior effects on tissue paper:

TP_Example 2 TP_EXAMPLE 1 tutorial_painted_paper_3

Effects on silk organza:

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Applications: Collage

There are numerous applications I have done with ColorWash and Dylusions

I prefer to paint quite a few sheets of paper and choose the ones I like to use for a particular look or application. The image on the left is a good example of a typical selection I would work with. The collage have been made with the papers along with some other types of painted papers.

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Luminaries

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Fabric Paper

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Fabric Paper made with layers of: muslin, ephemera, glue, tissue paper, color wash

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Fabric Paper Book cover

 

 

 

Mixing Up Media-Course Online

Mixing Up Media-My new course online at the Academy of Quilting

Start date: March 6th, 2015

Five Lessons $50

Sign Up now

MM_mini_finishedI am very happy to have this course ready to go. Many hours go into composing, making art, photographing, editing and more to put a course together.  Visit my profile page too.

You are invited: Go behind the scenes to experience some of my favorite methods and materials I use to create authentic art. Mixed Media: the fascinating realm of endless possibilities. Learn to: Transform various materials and unleash your creativity; observe amazing results from the get go.

 

Mixed Media-Take a Look and Make your LOOK

What is mixed media?
Basically, it is a playground filled with various types of art materials. All you have to do is take a look and then give yourself the freedom to play and have fun. It is impossible to go wrong, you will see.

For example, what if I told you that it is possible to make a painted surface look unpainted? No problem, I will show you just how to this and more. Working with mixed media offers unlimited options and endless possibilities. Once you experience this fascinating world you will soon realize this. Now, the best way to begin is with a focus otherwise the options are overwhelming.

The focus of this workshop is: To experience selected products and materials that produce amazing results. I invite you to realize the vast range of possibilities and gradually unleash your creativity. In addition, you will get to peak at my methods that I have used successfully for many years. I will share my journey with mixed media. I love stories, do you?

Create a LOOK-Three looks set the stage for exploration:

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1. Historic Look-inspired by authentic botanical illustrations

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2. Current Look-Updated style inspired by the Historic look

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3. Abstract Look-Pushed onward and into the future

Layouts are provided with various options that will guide you through practice and application. The design is based on a botanical illustration; a single flower is the featured specimen and focal point. You have options: work within your style whether you prefer to work loosely or refined with precise detail.

Either way, the objective is to create authentic art while at the same time experiencing some of my favorite and unique mixed media methods and (unconventional) materials including: interfacing, tissue paper, silk organza as well as cloth. These materials will be saturated with luscious colors and developed into dynamic textured surfaces using color wash dye paints; spritz, spray and drip dye paint. No need for prior painting experience…this is super easy, fast and super fun.

Techniques

The information I will provide comes straight from my coveted collection of tried and true methods and tools. For example, you will learn how to make and utilize a highly effective tool that I developed and use exclusively for appliqué.
Embellishment tags

CL_emb_200Make it yours-Refine your look with handmade accents-Descriptive text that is found on botanical illustrations will engage the viewer. Attach these with flare using hand and/or machine stitching, free style or uniform; unique beads, buttons or any personal findings; various sewing methods are suggested and demonstrated including quilting considerations.

Have more fun making your very own stamps and stencils to mix together and play around with; use them on tags as well as the surfaces.Stencil_200

MM_L5_hl_binding_strip_3Complete your look with my favorite (and easy peasy) binding method with silk organza along with a sleeve to hang your prize piece and show it off.

Goal: Make BIG Serious Art in 2015

My goal for 2015 is to make BIG serious art. I have decided that if I want to make (serious) progress I must establish a starting point; and, so I have. What is serious art? For me it means: defining my focus. To do this I must first take an assessment: Where does my art (career) stand professionally?  Define what main components need to be activated, engaged and clarified. This scrutiny had been done throughout 2014. I have been considering various directions. Now it is time to sort out my ideas and chose which ones have the loudest voice. I keep several journals. I write down my thoughts to actualize them. This is necessary otherwise the same thoughts circle around and I get frustrated and confused. Once written, I can relax and clear my mind.  This includes sketches of designs.

Now I can read my notes to extract the essence. To make a preparations to accomplish my goal: To make BIG  serious) art. Art that is fulfilling for me. So what did I realize  from my writing? Graphic elements catch my eye. I am drawn to art (designs) that have a black and white or a minimal palette. Thus, I decided to stretch myself artistically and go with this direction; to specifically focus on a black and white palette. In addition, one of my on going desires is to make BIG art. One of the main aspects I defined that  I admire  is scale: LARGE scale  art is compelling, dynamic and daring.  Confidence is a must.

Many times when I finish a piece I think

“I like it; however, too bad it isn’t LARGER”

 I was completely confident that was an excellent choice and one I anticipated to be enjoyable. I began the first week in January. I have several versions going; however, none of them are what I expected nor am I happy with. Working in black and white has proven to be much more challenging than I anticipated. This tells me that this is a good challenge; I need to push through this.

My design wall usually has various pieces on it. I mostly use it for pieces that are in various stages of development; and some had been hanging on it way too long. I decided to take everything down and start fresh; no distractions.

The background is white. I cut a number of  black fabric strips in various widths. I also cut strips from my printed on Spoonflower. The colors did not print as I had hoped. I like the design but the color is not true black or white. I have since learned that this is my fault not Spoonflower’s. The colors are a strange charcoal tone and dull white; an overall drab look. But, I decided that these tones would be perfect to mix with very black and very white. These strips are hanging on the freshly cleared design wall.

The design wall is clear and ready to begin.

The design wall is clear and ready to begin.

Surprisingly, I immediately knew I was in uncharted territory and this perplexed me; I didn’t expect to be challenged this much. I proceeded but there were a lot of stops and starts. I have no idea if I like what I have or not. The first piece is just there. I continued to work and add more pieces all day however; the more I tried the harder it got and I knew I was getting “fussy”.

Finally I had to stop; I wasn’t in the right mode. The piece is still hanging there today. I look at it each day but so far, no excitement. I have not given up though. I made some smaller pieces using the same fabrics and added some prints that (I thought I liked).

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Again, I had the same experience. Adding prints didn’t work…the total effect is not original (enough). I began to fuss again; this is a red flag, so I stopped. Now I have two more on the wall and none of them excite me. Oh well, that is okay because often times this is part of the development, the challenge, the search. These may not go any further but they are (part of) the catalyst. I’m still motivated and that is what matters.

Conclusion: I need to explore black and white as value and be patient until a direction presents. I decided to switch mediums and paint values. I used a gelli plate and good quality smooth white paper. This was fun and spontaneous and the enthusiasm returned.  I like some aspects that emerged. I see potential. Again, I looked at the papers for several days. It was as if my brain was trying to translate a foreign language; more pondering to do.

Gradually, I began to cut and combine pieces and still only a few pieces came together. I continued to work with the pieces for days on end.

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Why is this so hard?

Next I decided to paint on canvas. I primed it with gesso and then applied black and white acrylic paint quite spontaneously. I love the results. I tore the linen into several pieces; I like the small compositions, but that’s the problem…they are small!

My original goal was to make serious LARGE scale art. I hope I will find the direction back to that goal.

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I like the painted linen a lot. I have tried the pieces on various backgrounds; none have said “yes” yet. Here I used black linen (that needs to be ironed).

Next I painted some handmade khadi paper. It has a wonderful texture. It almost feels like fabric.

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I used acrylic paint and India ink. I like the effects very much. This has promise.

The plan is established, now I will continue. To be continued.

Double click on the smaller images to enlarge.

Painting Watercolors on Location in Nice, France

Recently I traveled to Nice, France to join a group of ladies for a week of painting watercolors on location. My experience with watercolor ended about 2o years ago. I painted for a few years and never really achieved the level of expertise I desired. I stopped painting when I discovered textile art and I have not painted since. When I heard about this opportunity it appealed to me for a number of reasons. I love Nice, I wanted to meet new people and I thought it would be fun to try painting again especially on location and what a fabulous location it was!

Instead of painting a complete scene we narrowed the focus down to small vignettes on 5×7: paper. This enabled editing and minimizing which took less time (and helped me to not overwork it).

I had a great time. Each day we went to a different town and setting.

The first day we painted at an outdoor antique market, which is held on Mondays. The other days the market has flowers and vegetables. FM_1

Walking around and in between the tables to find interesting items to paint was challenging as some of the vendors were not pleased to have someone blocking the flow; I had to work quick. Several vendors told me to move on. I was surprised that I was able to paint at all. It was very tempting to stop and shop…but there wasn’t enough time. I spotted some beautiful linens that I would have bought for sure and I manage to return the following Monday to shop on my own. There were fabulous things displayed unlike what you would see here in the US. I spotted a collection of antique perfume bottles which stayed in my mind. When I got home…I did a search and found some to buy on line. I plan to paint these in the future. They are charming and I think they will make excellent subjects.

The ceramic bird was the first item I spotted and quickly started to sketch and paint it.

There were two of them and I quickly bought them and moved on; now I can paint them over and over.

The second item was the vase. It was porcelain delicately detailed with flowers and very intricate metal work for the stand. The third item was the perfume bottle. The seller came over to see what I was doing. She smiled and seemed pleased so I could stay longer at that spot. I wrote the name Caline on it, as this is the name of one I have and bought in Nice many years ago ( I still have the bottle). The fourth item was the  porcelain basket. The handle was made of fragile rope like strands that wove together. The edges had delicate ridges. I really should have bought that one, but it was very fragile. I added a bit of wrought iron that was visible. The name of the market was Cours Saley. antique_market_painting

 

 

The next day we took a train to Ville Franche and walked to the Rothschild estate.

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What an amazing place! Everywhere I looked was beautiful. The estate and the grounds were fabulous. I painted from 10:30 till 5 p.m. I spent the first 2 hours painting random flowers.

After a fabulous lunch there, I spent the remaining time painting a collection of features. A rose, a small landscape and a beautiful stone pot. The design on it was very intricate. I simplified it but it still looks intricate. I plan to add something more on the top open space.

rothschild_paintingThe next day was spent at Menton. This was my favorite day. The town is know for citrus and I love anything lemon. I became interested in the shutters which were on every window. They were a similar shades of aqua green. I started to take lots of pictures of shuttered windows.  My painting began with the one window and shutter as I ate lunch at the Le Balico . The building was on a corner and was rounded. The window was on one side of the curve and the shutter opened onto the opposite curved side. This proved to be a challenging perspective. The shadow helped to explain the curve. Next I became fascinated with a stone statue nearby. Menton_statue2

I tried to decide what color stone would be? What colors should I mix to get the effect of stone? This was intriguing. The sun was shining just perfectly from behind and over the shoulders to highlight the details. Later that day I added the all important lemon.

Menton_paintingThe next day was spent on an island off the coast of Canne, Ile Saint Honorat. This island is small and has only a Monastery and vineyards.  A stop at the farmers market in Canne prior provided an opportunity to buy fruit. I decided to paint the fruit; fresh ripe figs and apricots that was the brightest yellow orange ever. The inside of the figs were rich shades of coral red. The view was beautiful. On the walk back to the ferry, I took some fabulous photos of the vineyards and the coast. Both had a wonderful fence with very old and narrow pickets. I knew these scenes would make great subjects to paint. saint-honorant_fruit_painting

The remainder of my stay was spent on the beach. I painted there too. I used photos which was totally different than painting on location. I definitely liked painting on location the best. The elements that come into play add to the experience and make it real.

The main benefit I realized was that painting on location required lots of editing. This is good for me as I tend to over work when working with watercolors….and this is not a good thing.

My stay in Europe spanned 24 days. My travels took me on to Majorca where I found additional subjects to paint. I was inspired and motivated.

Now that I am home, my vision is expanded; I see plenty to paint right here in my yard and nearby. The Seattle area is full of glorious scenery. The component that compelled me to go on this trip was the allure of Nice, which is definitely worth experiencing; however, travel is expensive and has its challenges. My eyes are open now and I see my surroundings in a completely new way. This awakening is great as most of my time is spent in the studio.

I still struggle with the tendency to overwork the painting though. My goal is to overcome this; only time will tell.

I have ideas about painting on location here. It would be fantastic to bring some like minded people together and join me. If you are interested, let me know.

New Updated Menu

I have uploaded all of my artwork. There are now 42 images. This collection is from 2010 to now. In addition, I have updated the menu on the home page. Instead of having one gallery I have created two galleries. The main menu tab is titled:  GALLERIES with two drop down menus below.

 Textile Paintings

and

Mixed Media

The textile paintings are made with various fabrics. The mixed media pieces are made with various materials. Such as: fabric, assorted papers, wire, buttons, beads. In addition various methods are combined. Such as: Painted fabric, painted paper, paper combined with fabric as “paper cloth”, collage, hand stitching, hand embroidery, to name a few.

Each gallery shows eleven thumbnail images on each page in one column. This makes it easier to see each one separately. Click on an image to see the full image.

I think this is a big improvement. I hope you enjoy seeing all of my artwork. Let me know what you think.

 

New Series

I have some ideas that are strong enough to consider as a series. I am motivated by the book: Quilting Line and Color by Yoshiko Jinzenji

Quilting Line and Color: Techniques and Designs for Abstract Quilts

What I like about her work is how there is a lot of solid (white) area with visual bridges connecting areas together. I realized that I have been doing this off and on for years. Now that I have taken Lisa Call’s course Working In A Series I think more about how things relate. I know the value of working in a series. How to explore, think and work with one concept until it is exhausted. Until you feel it is complete.

The first step is to think of a subject. This could be anything. Next you must refine the subject down to the essence.

For this series I plan to:

1.Explore bridges and connectors. These are shapes, various widths with high contrast.

2.Use a minimal color palette with one dominate color in either very light or very dark value.

3. Find/Search for unique fabrics that have a certain design that will provide.

4. Paint white or light fabric with thickened dye to create designs with bridges.

What are bridges?

This is a term I use to describe marks, lines,solid shapes that stand out.  Usually they will be on a very light or very dark background.

This last example is a fabric I painted with thickened dye.

To begin with I plan to work with a grid. As I progress I will consider other combinations. I like the grid because I can focus on the interaction of the fabrics, turning the pieces until the design is united.

This is the first composition for this new series. For now I am going to call the series BRIDGES. This might change as I work with the various fabrics.

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