I haven't had a lot of time to create any 'physical' works ( on a substrate that is ) recently, but I do manage to 'play' on my computer with digitally manipulated images. This is my most recent work and it was a lot of fun! I can't wait to do some more. I really enjoy trying out layering techniques,fooling around with textures and even doing some direct painterly effects right on the photo using my mouse pad. It is all very addictive!
While looking through an old portfolio, I found some nice paintings and portraits I had done several years ago. It brought back a lot of memories...especially the little mini watercolours. I had taken tons of photos and drew many sketches of scenery while on the road with my husband when we were stateside and also in western Ontario. It was a flashback to sleeping in a moving truck, eating and showering at truck stops along with seeing some of the most amazing sights. The portraits were of artists, both musical and acting, that I admired. These weren't meant to be sold but just to practice my trade and use in portfolios should I decide to work in the field. ( These pieces helped me land positions as silk screen artists in several companies.
One of the actors I admire, Harrison Ford. This was in his younger days as, you guessed it, Indiana Jones. :) The technique used here is called 'stippling' and it is very challenging because it is done with ink and cannot be erased.
Ok so maybe it's not ancient, ( a little old perhaps )....... I just needed a catchy title. :) I was hunting through my art supplies and older works the other day and found some linocuts that I made several years back. It was another of my experiments and I have to say, one I enjoyed and would love to try again. They are semi challenging and I suppose that is their appeal: not only can the carving of the print be tricky, but so is applying the ink just right as to capture all of the lines in the plate. Usually several artists proofs are pulled during the proccess until you get the ink application 'just right'. From there you decide whether or not to make it a closed or open edition. In a closed edition only so many prints are made and then the plate is destroyed, thus making the image more valuable. Each print is signed and numbered . Example 1/200. I am considering making the print above a closed edition because the linoleum in the linocuts do not last forever , they tend to break down. It will be a limited edition of 100 on acid free paper and come packaged in plastic with an acid free board as backing. You will be able to buy this print through my online store on this site.
I have always loved the look of a batik and finally got brave enough to give it a try. Since I didn't know how to go about it....I decided to research it onthe net and found a method that acutally was quite simple and incorporated the use of crayons. You know how I feel about crayons ( see my biography...) so I just couldn't 'resist' it ( pun intended ) . The wee chestnut Arabian was a first attempt and was fairly crudely executed...but I did learn how to overcome the drawbacks of the technique while working onthe second piece ( which took place right after the first...I had the 'bug' and HAD to repeat the process <grin>) Since you are likely wondering what the 'process' is, I will excplain it. 1) Start with a clean, small piece of unbleached cotton or canvas, or silk. 2) Draw your design directly on the canvas with a fairly dark pencil. 3)Heat up a hotplate and place a muffin tin on or in it. Break the crayons into pieces in the muffin cups. 4) Using cheap paint brushes, start your painting with the lightest colours first...then medium colours and then the darker ones ( try to keep the dark colours to a minimum ) If your brush gets filled up with wax, press the bristles fairly firmly against the walls of the muffin cups nearestthe hot wax to remove it. 5) Wait for the wax to cool when you are done your painting ( put it in the freezer if need be to speed the process) 6) Crumple the whole piece up several times into a ball to get the cracked look. 7)Using a wide brush, paint over the whole canvas (top side where the wax is ) with either ink or thinned out acrylic black paint. 8) Allow the piece to dry. 9) Place newsprint under the piece, and then one or two pieces of paper over the waxy side. Iron with a regular iron. Do this several times until the extra wax is removed. This part of the process heat sets the wax into the fabric. Admire! :)
This is the photo that inspired my latest work. I took this last fall while walking with the horses in our fields. Our clydesdale Dozer just happened to be standing just right and I loved the lighting so I snapped the photo as quickly as I could. There wasn't a lot of detail in it,due to the fact that it was taken with my cell phone, but I loved it all the same and HAD to draw and paint it! I hope to do a much larger piece of it in the near future...say maybe a 3'x3' canvas? :) There will of course, be more background in the painting then in the sketch! :)
...the watercolour drawing that was inspired by the photo....