Posts Tagged ‘terry lee getz’

who's the wolf

Another Daily Art challenge make. I am revisiting Red; I’m not alone, lots of people are seeing Red these days. There has to be a reason she is surfacing to consciousness right now. I’m not speaking for anybody else, but I feel two contrasting and contradictory energies at work currently. The illusion of black/white vs. ambiguity.  The middle road seems very narrow these days. Mulder is back with his “question everything” philosophy. I like that; my feeling these days is that the questions are more worthwhile than the answers.

I started with the Rives BFK® printmaking paper and dropped some water randomly onto the surface. I put some black Dr. Martin’s® Bombay ink into the plain water drops and let it spread. I blew it around with just my breath and let it wander, then set it aside to dry.

I wanted to use tube watercolors today, so I picked up an ultramarine tube and kneaded it gently to mix the pigment up. These tubes are old so I go easy, but today not easy enough. I was daydreaming and looked down to find ultramarine watercolor all over my fingers. Luckily I had torn up a bunch of lunch sacks yesterday so I wiped my hands all over those pages, and everything else that wasn’t nailed down. Then I took a big brush and swiped water all over the paper to move the paint. I don’t want to think about how that will turn out when it dries, but can you say “CRINKLE?”

Well, watercolors dropped way down the list. That’s how easily I am deterred from stuff. I thought I might try ink. I have a mess of Higgins inks and I like them very much but I never have drawn with ink. I bought them for the purpose of making blot papers for my Interactive Intuitive Readings™ but they didn’t end up working as well as the Bombay ink. Higgins® Dye-based Drawing Inks are much less expensive and highly pigmented. The back of the package says they can be used like liquid watercolors.

I really like the way these inks move, and I would definitely equate them to watercolor nature. **Be advised, I have no watercolor or inking skills. I am purely at a “coloring book” level. If you want to investigate the qualities of either medium, consult someone else with a far greater proficiency.**

The black ink blot was dry so I started looking at it, spinning it around to see if anything presented itself. Here’s how I work with blots and expressive art. Take a couple of breaths, close eyes, open eyes, soften eyes, turn the paper. Pause. Turn paper, pause. Do this all the way around. Subconsciously you likely already ruled one orientation out. Keep going. Don’t get scared. There will be a point when you feel panic and think, “I don’t see anything!” That’s good and natural because this is a trust issue. Expressive art is about developing trust in your creativity and your instincts. Just breath again and keep going.

I went around several times. There was one other orientation that was intriguing and likely would have been deeper expression for me, but I do keep in mind my time limitation. I am sticking to my one hour religiously and sometimes that means sacrificing an idea or technique. That’s ok, there are always other opportunities. Two of the other images were already no go’s. Like it or not, this was the one remaining. Suddenly (and I mean that, like a bolt of lightning) the wolf appeared, really well defined. The major work back into the wolf shape was adding teeth and ears (he had a nub of ear originally). At this point, all I had was white paper, black blot and the red teeth and eye.  As I was thinking and feeling what was left, I saw a curvy line that suggested Red’s Hood and Cape. You’ve got to be kidding me! So I colored that white space in with red. The image needed unity so I brushed on the dark blue for sky and green for ground. The other black blot is the silhouette of tree branch(es). I did see a snake head hanging down in mid-image so I outlined it lightly. It’s just a side note, but now we have three characters in our story.

So the image was nearly finished. There were the two white spots inside the wolf’s body, that is where the text could be. Text had to be short and handwritten. I got a toothpick and dipped it into the ink and scrawled it out.

I considered captioning it “Red’s Shadow.” That’s a black and white energy. I’m telling you the story. “Who’s the Wolf” is the ambiguous energy. Who is the wolf? Who is the innocent? Who is the onlooker? Who’s zoomin’ Who?

There was also the option to leave the space empty.  The highest expression is to let you ask your own questions or the freedom to not ask any and move along. As the maker I am forcing you to do it my way.




ask for help

Another Daily Art practice piece with a vintage photo as a focal point. The reason I went to a photo again is because I am (again) rearranging and sorting materials and tools in my studio. In my Daily practice I’ve gotten to the point where I simply reach in and pull out something to use.

When I was sorting through shelves of old journals and books I could alter, I ran across some Canson Manga kits. I don’t know if they are still available. They are a beginner set for artists trying the comic book style. There are paper stencils to prepare layouts and one stencil is a “thought bubble” or narrative block. I liked them back in the day to create easy quick grids. They were buried in the journal shelves and I was glad to run across them. This week’s art seems to be a “Hey friend, so glad to see you!” week.

The photo is an odd size and in the portrait orientation. I put it up in the left hand corner and liked the way it went 3/4’s onto the page. But the bottom right was just filler and there wasn’t a lot of room to do any text, which isn’t necessary but the picture warranted something. So I cut the bottom right off and decided to grid it out. Gridding it seemed to help the story. Frame 1, guy on ledge watching Frame 2, guy trying to climb to ledge. Frame 3, rest the eye, Frame 4, narration. I had a piece of brittle aged brown drawing paper laying on top of the work island so I used the Canson stencil to cut out the window frame. The frame breaks up a bunch of non-narrative space and helps the viewer grasp the story. At least I hope so.

In recovery we learn to ask for help, and also learn to be willing to receive it, the way it comes. The guy that’s climbing isn’t asking for help and the guy on the ledge isn’t offering any. Maybe in the next second something happened, but right now I’m looking at what IS preserved and it seemed a good time to remind myself to Ask for Help. I don’t need help right now, but one day when I’m looking back on my Daily practice papers I might and this will remind me.

The wash is walnut ink, the rubber stamp text is StazOn Saddle Brown. The handwriting is Sepia Pitt Pen. As I did yesterday, I doodled a bit outside the photo to extend lines. I added some flowers because they got cut off by the frame.

In the second frame running down the center you might be able to see a stitch line. A few years ago I got froggy and took a bunch of old photos out and stitched them together on the sewing machine. I used them to make fabric/paper hanging collages and some were left over when I got bored doing that. Old photos can be very fragile. They were often glued to scrapbooks and then get taken out and the force of removing them weakens the paper. As I was gelling this photo to the foundation paper, the bottom tore off. No big deal, just wanted to mention that they can get very delicate.

Talk to you tomorrow, I reckon.

good dog

I’ve been eyeballing this vintage picture for a few weeks because it’s been on top of a stack of pictures that keeps falling over. Or the cats are knocking them over which is more likely. It was going into my Daily Art practice sooner or later so I made it sooner.

One thing you should know about me, and will most likely admire, is that I am a SUCKER for old photos. Any old photos. Half developed, half out of focus, any kind of half-assed, really. Good ones hardly interest me any more then mediocre or damn bad ones do. It’s perverse, but secretly you know you feel the same as me. I mean, have you ever seen one of those old black and white pictures where there is literally NOTHING but a horizon? Like, you know it’s happened to you, too. There was some kind of awesome cloud or an amazing bird formation and absolutely nothing shows on the shot. Back in the day, some old duffer sees 86 birds way up there, spelling the word Geritol or something (it is 1950, after all). He’s all excited and can barely get the manual focus right and snaps that award winner, thinking, “that’ll show ole’ Howard back home.” Then the roll gets developed and the disappointment settles in. Where are the Geritol birds? And his wife Milly screams, “Wilford, what were you THINKING??” And Wil wonders as well. Photography can be a cruel, cruel game.

There is hardly a homeless photo in Pinellas County. Well, there might be now but not in my heyday. Boxes, people. I have adopted countless ancestors, it’s a wonder that I don’t have a bunch of haints up in here. But I don’t, because the departed are happy to be wanted.

Actually, if I might wax philosophical here, and I might, because if a tree falls in the forest does it make a noise? It’s like that here on the blog almost always except for a few stalwart readers, long-time friends and relatives that trip over and think, what fresh hell today? Anyway, looking at unknown ancestors and doing your own ancestry history can bring up many emotional and intellectual issues. My sister sprang for a couple years ago and we got into researching our family history like nobody’s business.  It was just interesting. I have a relative on my paternal grandmother’s side by the name of Napoleon Bonaparte. I am not kidding. What kind of parents name their kid Napoleon Bonaparte? Well, the kind that I am related to. It explains a lot.

As a photographer myself and as a curious person, I wonder what provoked them to shoot the picture. Or to shoot it the way they did. Like sometimes, when the husband puts the wife in front of the pink flowering dogwood. Which does he want to shoot? Is he a proud arborist or devoted husband? Can he be both? I suppose, but that isn’t as interesting. Everyone ASSUMES he is shooting the wife. After she dies, the grandbaby, dandling on PaPa’s knee, thumbing through the scrapbook. Kiddie, “Ooohh, pwitty!” Thought bubble over PaPa’s head, “Yes, it was a fine pink dogwood…” I mean, really.

Anyway, I can think and talk about this for a long time and I almost have today. I started with the picture. I set it on the paper foundation in the spot it is now. I almost never center anything on a page. I use the Rule of Thirds which I have discussed on this blog elsewhere. The dog is small in the photo, it was shot wonky and tilted. It is odd which is likely why I’ve been attached to it. All those different planes intersecting at obtuse angles. Hmm. One of my favorite art practices is to draw a continuation of something on a page. Like in this case, extending the photo out with drawing. Sometimes I do it with a pattern (like a floral), and extend it beyond the border. I like the “realism” plus the “handmarked imagined”. It’s a fun way to take something you didn’t do, and make it your own art. It’s more than just putting the picture on the page.

I used Neocolor watercolor crayons to draw out my added content. The bottom was empty, so I added a strip of old text. Then I took a piece of drywall tape and rubbed PanPastels over the surface. The tape is pretty deep so it tore up the foam applicator but it had been used and those things don’t last forever. I liked the scale of the squares so I continued the stenciling further than I planned at first.

It needed text and I wasn’t sure what to add. I considered a short quote about dogs but it didn’t interest me. There wasn’t a lot of room, either. I tried thinking about dog names from the 30’s but hell, I ain’t that old. Spike. Lad. Spot. Fido. If this dog was any of those, it was Lad but I can’t even. Lad. A Dog. Now you do know how old I am.

I decided not to name the dog. Nobody calls their dog by their name, anyway.  You know you don’t. Sometimes they are just Dog, or Puppy. Around here, the animals get called “Mr.” or “Missy” or “Oh No You Didn’t” or a word with “-ster” after it. Our dog is named Junebug, but we call her Bugster, June-ster, Junie Bloom, Junie, etc. My late cat, Raven, we called Ravy, Wavy Gravy, Ravy Gravy, Scamp, Crazy Cat, Termite and Shit Foot, but I’m not talking about that.

I put myself in the shooter’s place. If I was trying to leave the porch, or if I walked up to shoot the dog, I’d say “Stay!”. Then, if the dog stayed, which I assume this one did from the general lack of interest on his face, I’d say “Good Dog.”

If I’d had more time than an hour, I might have explored the situation from the dog’s side. I like how he’s looking off to the side, all casual. Mr. Hollywood. Get my good side. He might be saying to himself, “look at this dufus.” Maybe there was a squirrel over there that needed watching. If this was my dog, he’d have a cool name, but we’d just call him Bat Ears most of the time.




dendritic duo

No, not new Superheros to keep track of, rather, two separate dentritic monoprints taken from the same blots.

I talked about the dentritic monoprint process I started playing with last week after seeing a video on Youtube by Shannon Green. On Thursday I pulled two prints, one from each glass plate, so they are both first prints. On the second plate I used a paintbrush end and did a swirly line through the main paint blot. Other than that, the prints were very similar, as similar as two monoprints can be. There are always differences of some kind caused by the pressure put on the paper, a slight shift in the paper or the type of paper used.

I also want to mention before I forget that what reads lavender-ish on the monitor is actually hot neon pink. The orange is bright neon orange. The prints are actually more interesting IRL than they appear here. Sorry about that.

The bird image was completed on Thursday. An urge to do a somewhat representative drawing predominated my mind that day.  Remember I said I was very afraid and had to hug Bunny-kins at the thought of working on this? The blots on these pages weren’t connected in anyway to each other. One huge blot, one smaller purple blot, one odd shaped grey blot and two teeny grey ones. It unnerved me.

I saw a parrot in the big blot and once I got the eyeball in it was easier to place a beak and outline the body. The way the neck was stretched out reminded me of a bird looking out of a hole in a tree so I drew some loose vertical lines in a fine pen. The grey egg-shaped blot needed to be contained. The idea of a baby bird hatching seemed a good story but I didn’t trust myself to be able to draw a baby bird. Plus there was that teeny grey blot above to deal with. I decided the egg was a body, turned the teeny blot to a face, drew a skinny creature neck between the two blots and had the beginning of a friendly guy with no limits on how kooky it could get. I gave him five deely-bobbers and suddenly he needed energy lines as well. I had that other teeny grey blot under the bird and decided he could have multi-fingered flower hands and drew him long squiggly arms. I think he’s trying to give the bird a hug but I don’t want to impose that on him. Perhaps he is measuring the bird’s head for a hat. Which couldn’t be easy because of all those fingers, but look how Edward Scissorhands adapted.

That purple blot at the bottom was worrisome. I turned it into an eye and it developed rapidly into the Stink Eye. I figure, in this odd world there is no rule that an eye has to be in a normal place, so I made a creature with three wimpy legs holding a substantial body with a Cyclops eye. EEEWWW.

I tried to balance the colors I added (yellow, orange). Now, I will admit that I have a major Neon Jones. Nobody was happier than I was when Neon came back. However, I do not like black with neon; it gives me a headache. I prefer to pair neon with grey and white. I love grey as a neutral. Grey and navy are my blacks. Sometimes I need the darkness of black but it isn’t my huckleberry.

Friday I wanted abstract expressionism. The bird drawing wore me out and the swirl on the second print was making me nervous. It dominated that blot and it didn’t form anything that I could work with. I didn’t want to add any colors, either. I started by drawing loose outlines around the shapes of the smaller blots. Of course they were all hanging in space individually, so I drew some bubbles and lines to connect them and that worked. Then I went back in and drew lines around the color in all the blots (except the faded grey at the left side). All the black outlines started to unify the drawing.

Now I want to talk about pointillism. Pointillism is drawing with dots. If I am in the mood to do it, I cannot get enough. I find it relaxing when I’m in the mood. If I’m not, it works my one nerve. In the past I actually did canvases in pointillism. Sometimes the medications I was taking gave me different energy and tolerances for certain methods. Right now doing a work of that size in dots seems like a fresh hell. But I haven’t used pointillism in so long, it was tons of fun last week.

The bird image was simple. The white part got extra fine black pen dots. The colored parts got white Sharpie® Paint Pen dots. The dots were small and lots of space between them. But the abstract was a different story. I knew after years of practice that creating different-sized dots adds movement, as does space between dots and solid dots vs. outlined dots. So I mixed them all up in this piece. I wanted to move the eye INTO the page, so I started with big dots on the left side,corner and top, then went to medium dots, then down to fine dots as I went toward the center. I used dots to outline the big blot, rather than lines. That set it apart from the other blots. Around the big dots at the left, I filled in with small dots. I left the colored and white pieces unmarked.

I like my use of white space in this image. For my eye, it’s just the right amount of resting room. The blots in this image have various possibilities. Is the large blot a bird? A tropical fish? I have no idea. I have no narrative for this piece. It’s beauty for me is the balance of color, size, detail, movement, line vs. dot.

So, now you have more ways to make and work into your dentritic monoprints. Expression vs. abstraction. Pointillism. Neons with grey. Go for it.



I spent most of yesterday morning playing with dendritic monoprinting on pieces of blank or previously painted Rives BFK® printmaking paper. Remember I am doing a Daily Art project and I have an hour to get it all done (or as done as it’s going to get). Even though the paper here was pre-painted, I was still pushed by the clock to get it finished.

As I’ve mentioned in previous posts, I particularly enjoy expressive art practice. I don’t draw well enough to plan and execute a design. Somehow when I start with a rough random pattern I do much better. If you can imagine the image before I outlined and worked into it you might see that there were three pieces of dentritic printing on the page. (The dendritic patterns are the indigo fern-ish marks). The first is the large focal point that I turned into a mushroom. It really did look mushroom-like from the get go. The second painted shape was the small circle at bottom left, and at top middle there was an oblong shape. Then there was the predominant rainbow striping to deal with. Before I worked into it, it was a hodge-podge-lodge of dramatic patterns. I actually despaired of it, thinking it was a hard challenge under any circumstances. But I persevered and started on the mushroom and it went pretty well. The I thought the smaller circle could be a less mature sprout; some mushrooms have that puff ball look when they are babies. I duplicated the colors except to make the yellow bolder with a tad of orange.

Now, I have two finished mushrooms on a striped rainbow with an obnoxious small oblong shape. It had all these little dentrites on the edges and the inside was empty. I decided to try a face shape around it and that meant I had to try and match a drawn eye to the painted one (or produce a Cyclops. EEEWW). This always fills me with horror; matching eyes is always problematic.  I am great with ONE eye (well, great might be an overstatement).  One looks good, and the other one that should match gets lumpy or squinty or looks like the subject is giving the Stink Eye. I braved through it with a colored pencil and actually got a pretty good match, if I do say so myself. And I just did. The nose and mouth weren’t much of anything to do, and I figured we’d carry that dentritic pattern up to the hair; looks like a root crown to me. Unless this is a self-portrait of me getting down on my belly to see a mushroom (and that does happen pretty frequently; there are photos involved to prove it) I figured she to be a fairy and gave her dragonfly wings or a reasonable facsimile of them. With all the detail and red up top, the bottom needed some red for balance so I did little tulips and added green and ochre around the base of the mushrooms to ground them. I then ran out of time.

I don’t know if I would have done more given the time. I very much like this piece. It was a challenge and I did some drawing which is always a good thing. I resist drawing most of the time but this was the perfect situation to do some expressive work. I do think the mushroom and face compete because of the details and size. Generally we conceive of fairies SITTING on a mushroom, not looming over them like Godzilla. But who are we to know what a nature spirit looks like? She looks benevolent enough, if a little pensive, as if she has a big “To Do” list today. Definitely not giving the dreaded Stink Eye.

You probably want to know how I came to do dendritic painting, or what it is. I don’t know what got me there, but I watched Shannon Green on YouTube University demonstrating it. She got it from somebody else which is how we all learn. Basically, it involves two pieces of strong glass, acrylic paint, pressure and lift, then two prints. You can sometimes get two prints off each plate, but the second prints are not great. Good for scrap paper, though.

I have way too much scrapbook paper for someone who doesn’t scrapbook. I probably have way too much scrapbook paper for someone who DOES scrapbook. And to be honest, I don’t know why I do because I have no interest in it. I think most of it was just there, like Mount Everest. I decided the dentritic monoprinting was going to feel very good on all that scrapbook paper. And it does. I made good use of it in today’s Daily project, but that is for later to show.

If you have a bunch of paper you want to make more attractive, get yourself the supplies I listed above and watch Shannon’s video. It’s easy, inexpensive and fun. No two patterns are the same. If you don’t like glass, or have kids involved, try it on sheet protectors or transparencies, or maybe use cut acrylic sheet. It is the stucked-ness and air bubbles and release of pressure (suction) that makes the dendrites.  I plan on trying transparencies because I hate glass and sharp stuff like grim death.


A print of my original portrait of a model named Jennifer at one of ARTpool Gallery’s soirees is featured in this stitched collage. Vintage linen, pom pom fringe, lace and a handmade heart stitched to a linen background. The print was toned with pink watercolor crayon. I’ve been doing a lot of stitched pieces lately and four of them are hanging in the gallery for $45 now. P.S. There are new photo galleries at!


This is another painted print from a styrofoam plate that I did a few of last week. They are now in my cubbyhole at ARTpool Gallery for $12. The plate was printed on a 5×7 canvas board. I drew  a child, not a cherub, but the printed face looked so angelic and the clothes more like a robe than what I drew, that I turned the figure into an angel. I believe this is what is called Artistic License! haha. Have a blessed day.