Posts Tagged ‘painting’

Remember those vintage pipe cleaner, felt and styrofoam head figures peeps used to make? I found one at an estate sale and had to have it. It had big ole’ shoes, gloves and a pointed hat in felt, some sort of nose and a little tunic looking shirt over it’s upper body. Pretty hinky but full of old craft magazine memories. One day I was outside early and noticed that a ray of super bright sunshine was beaming down on our white shed and got the idea to shoot some shadows. There was Mr. Hinky Elf, in all his splendor. I think he made quite a silhouette, all long and lanky. So I shot him for awhile and a few other things and printed them out. When I sat down to make this page I was interested in texture and layered on many cancelled postage stamps and some small labels, etc. I also put a hand drawn womans face and my Shadow Man on there and then painted over it all several times with a credit card. Lots of texture, plus an odd focus image. My kind of page. This one is finished, I won’t put writing on it because I like it the way it is.


I took this picture of an angel holding a dove at a cemetery in Brooksville, FL. The statue was unique in my collection. I’ve been shooting graveyard images for 15+ years, all over the southeast US. The image was Photoshopped and the height of the statue gives it a kind of wonky orientation on the page (the statue was about 3 1/2-4′ tall). I printed the photo on regular copy paper and placed it on an otherwise prepared page. It looks like I used either pan watercolors or pan gouache to color the image. This page is in my altered map journal but has no journaling on it besides the “The bird leaves no trail” saying. I  doubt that anything more will be done to this page in the future, I like it the way it is right now.

Although this piece is on canvas board I consider it an art journal piece. The canvas had an image on it that did not work out and I began to play around from scratch over top of it. The crow kind of materialized out of the darker paint I was using to cover the previous work. I believe there is metallic paint in several colors on the crow and the rest of the color is regular acrylic. A white pen was used to journal a shrine-like shape around the bird. I love crows although I find them hard to render unless I am stamping them in black ink in a really graphic way. All that dark can make definition hard to achieve to separate areas of the body and face. I “solved” the problem somewhat in this piece by doing some sweeping lines with the white pen, which gave the bird some personality and unified the body of the bird with the rest of the piece. Certainly not my favorite piece, nor best created, but I did resolve  the problem of a canvas that was not working at all and turned this into a decent journal page. I will copy it and paste it into my altered map journal one of these days.

Another expressive painting, this time in the form of a mandala with a lotus flower as the central image. Charcoal was used to define outlines and make marks and pointilism was used to add some interest. I dipped the end of my paint brush into white paint to make the dots. I like this strong image and the colors that emerged as the work was layered. All these expressive paintings look good with a simple black frame, which I am working on finding at the thrifts. My absence in the past week from my blog was due to a nasty cold and fever I had which has thankfully gotten better in the last couple of days.

Nonesuch Moon is an expressive painting using a paper plate for a template, worked on a stretched canvas. Like some of my expressive paintings, it exists no more as the desire to paint portraits of women with moustaches took over and this canvas got repurposed. In order to preserve the lineage of work I do like to take pictures of finished work, even if (or especially if) I think it may only have a short life span. I like this painting and will very likely use this image in my journal at some point if I ever again get a color printer that works. In this way, paintings that no longer exist, whether the canvas was repurposed or the image was sold, can live on for the artist in current work. Be sure to document all your work with either photos or scans, if the work is small enough. Shoot the work at least 300 dpi so that you could have a greeting card or print made, and do a separate image at 72 dpi for the web display. I always keep the original photo in case either “saved” copy (your altered copies) get destroyed. Another idea for photo use of artwork is having a book made. Not as expensive as you might think and great fun to have. Comes in handy when visiting a new gallery or going out on an art date with friends to keep them updated on your progress. Happy painting and happy shooting!

The design for this pretty picture was not mine but Dina Wakley’s, whose class I took on Saturday. In three hours I made this painting and another on stretched canvas. Dina is a good teacher and we used very good supplies which made the project even more enjoyable. This image is on watercolor paper, gesso’d, birds were traced, then overdrawn with Stabilo ALL water soluble pencil (which I LOVE–new go-to tool), painted, stenciled and journaled on. I don’t take very many classes, this was my first art class in many years. Definitely worth the time and funds. Check to see if Dina might be coming to a venue near you.

Completed yesterday, this expressive painting is the closest raw emotion I’ve funneled through art since the home invasion. To me it signifies the idea of being watched and more importantly, the hyper vigilance I’ve been feeling in watching everything around me, inside and outside my house. My startle response is off the charts these days. However, the situation is looking up and the home security system has made a big improvement in sleeping at night and starting to relax during the day. Like all other healing processes, this one will take time.

The last thing I expected to see after working on this expressive painting was a beetle, but there was the definite body shape and plates, wings, little pointy head. When i charcoaled in the legs I knew she was a lightning bug, as we call them in the south, so I dotted the orange-y yellow paint around the body to represent the etheric light. Many an evening was spent with my sister chasing, catching, admiring and releasing (unharmed) some of the hundreds of fireflies alive in the 1960’s summer evenings. Sadly, it is a commentary on the decline in the natural environment that many previously lightning bug laden locales no longer support these insects and they have become a rarity to spot. A real shame and frightening on many levels. The simple joys of lightning bug spotting should be a birthright to earth’s children everywhere. This painting was worked entirely with my fingers with paint, mixing it directly on the canvas in many layers and then drawing in legs with charcoal. The pleasure of making an expressive drawing is to allow that which is there to move forward and to accept it and cherish it for what it is.

Another in my Mehndi Hand series, this one done a bit differently. First I stenciled the hand in purple Claudine Hellmuth Studio Paint, then when that dried, I re-stenciled with Golden Light Modeling Paste, using the stencil a smidge off register. This allowed the previous purple image to show instead of covering it up. Then I rubber stamped on the message and used the Sew Stamper tool to put in the crazy quilt inspired zig zag stitch line. Lumiere paint in green provides the background around the hand and I may have used a Distress dauber in chartreuse over top of the modeling paste. On 6″x8″ canvas board, the first background is paper.

This is the last of a series of five expressive paintings I created (not all of them have been posted to the blog yet). Is it an angel? Is it Icarus? My feeling is that the figure is looking down slightly before taking off, there is a little something in the shadow on the back of the head that suggests that to me. These paintings really are about the feel of the paint on my hand, the colors that happen, what I want to “save” and what I want to cover up. That is how the white got there. covering up something that I wasn’t as pleased with as the deeper colors and layers at the top of the work. Generally, several days after the paintings are made some idea as to what is there becomes conscious,  and I will often outline or mark the canvas with charcoal at that stage. This one has so many marks in it for the feathers and the hair that I didn’t feel the need for charcoal…yet.