Posts Tagged ‘terry lee getz’

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.

mushroomfairy

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 pisces-rising.com!

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.

Same mannaquin from yesterdays collage piece, only this time Marina Williams of  ARTpool Gallery gave her oversized heart shaped glasses and a polka dot hoodie to wear. I gave her some “simplification” and “solarization” filters in Elements and Topaz and her persona is a tad stronger, as is the visual. “Solarization” is not by any means one of my favorite filters but in this case it highlighted her eyes which are very pretty for a mannaquin.

Pastels

Posted: April 3, 2012 in photography
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A digitally altered photograph of my set of pastels. I used a few Elements settings and then put it into the Topaz filter program and chose Lomo II. I love to shoot tools and materials when they are out on the worktable for use later in playing around with digital filters and techniques. It is also fun to alter a picture way beyond being a recognizable object. If you have some of these cool digital programs, why not set up some tools, materials and found object still life arrangements and instead of just using the program to change resolution, have a play day and learn the features. Could come in very handy to know a particular filter one day when you want a special  effect.

I have an ornamental bird cage that catches the light once a day if the sun is strong enough and on this day I couldn’t resist shooting it. I like the way it came out, with a little distortion and the fine brass bars highlighted. The heavy lines are also the cage, circumference support and the door frame, a little off kilter. If you’ve followed the blog for any length of time you know no ray of sunshine or object around the house is safe from shadowlet production and my attention. If you have a camera this puts it to fun use.

Meet Albert. He has a funny story. Well, sort of funny. I bought a bunch (when I say a bunch, the numbers are usually astonishing) of these plain cloth dolls on clearance about a decade ago. I always wanted to make dolls, see. But the plain sort of ill shaped dolls mocked me. Don’t know how to sew (or rather, design patterns) so no clothes. Tried weaving over one and that took forever just to cover the body rectangle. I think I even tried painting one once. Everything that ever happened with these dolls, which wasn’t much, was only done once. So I decided to give some away and have a friend that said she’d take some. God bless her. Then the one I brought in to send her a picture of started mocking me. In order to shut it up, I applied gesso in black and white, then put a face on with those marvelous Sharpie poster paint markers, then when it was dried did that (except for the face) about three more times to cover, then sewed some shirt buttons on and called it Albert. I believe I got the last laugh…or did I??

Sometimes a journal page is  nearly an excuse to document a quote. Or it can seem that way, unless you do something, anything, to showcase the quote in a new setting. For some reason that I do not begin to remember, I decided to make this quote into a turban like headdress and do a partial portrait of a wise woman beneath it. The quote is by Florida Scott-Maxwell, who I am not familiar with nor had I heard this quote before but I loved it immediately and wanted  to save it to refer back to. I ended up loving this page even tho it is a bit sparse. There is so much to think about in the quote I did not really want to distract from that thought by putting in a bunch of color or textures or patterns. This is pastel chalk directly onto a naked white journal page, no special paper, no gesso. Just a sharpie, white page and a tad of planning–not much, though. I wanted the page to remain fresh when I view it. As a side note, I also see in this page which was done months ago, an interest in more white space which is on my mind these days when I make art. Not that you’d really notice a change yet…still in the percolating stage.

Mail art treasures

Posted: February 22, 2012 in personal essay
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I have a dear friend I have never met who specializes in spreading mail art treasures around the world. Being a lucky recipient of everything from mini zines on bees and elephants, full sized zines, including one featuring the Hand as a symbol, slips of poetry from some of the worlds best contemporary poets, printed on vellum and illustrated with rubber stamps, computer art and many 3-D stitched items, kiragama, origama and found objects. Even the envelopes are beautiful, adding an anticipation to the opening of the mail. Lunar Daughter has been sending me mail since 2000 and I have been saving it because it is too precious to dispose of. Period. In this day of hasty emails and faxes, who has a message worth saving like these are? I’m going thru all kinds of stuff in this house and I’ve run across this collection. At first I thought I might put the art into my own journals, with the poems and the stitching and the 3-D jewel encrusted branches and thereby mingle the contents with my own art and collection of ephemera. But handling the treasures, I realized I no more want to dissect these than to get a stick in the eye. The care in creation, concern for me expressed, concern for the environment discussed, the sheer loveliness of the objects Lunar Daughter has wrought require not disassembly for expediency’s sake but a place of honor. So I am devising a means to store these, better organize them and a mission to take them off the shelf periodically to review their individual and collective loveliness. Sometimes we need to slow down and examine what has heart and meaning for us, even if it means another small, decorated box on the shelf to hold that which has been created with joy, time and talent.