"Mark Making" (1)

Today's posting is a "take off" on a workshop I recently taught. So many times, it is hard to remember or to come up with ways of texturizing and layering in a piece of artwork. This is one way of organizing your "mark making" techniques as a ready reference while working on your work.

What you are viewing today is (4) samples of mark making on different papers with a hole punched in the upper left hand corner. These notes can then be added to a very large binder ring (available at office supplies) to create a compact and easy reference. They can be stored on a decorative hook in your studio or laid in a basket or bowl. They actually add an artistic flavor to your space.

The data on each of the cards needs to have some key information. The most important info. is the name and description of the paper since different mediums and tools can react differently. The next bit of information is the steps used in making the mark(s) and other descriptive details like....wet or dry paper....diluted or undiluted medium...whether the tool was dipped into the medium...."sloshed" on...etc.

Since all visual arts have a vocabulary, it is good to have notations about your own personal marks so that you can build on your vocabulary. There is a point when three word sentences don't adequately describe what you want to say. This is a good way to increase your sentence structure visually and eventually expand your note taking to describe moods and textures represented. And there you have it...just a few more things to think about.

"Untitled" (draft 1)

(draft 1)

This piece has no title or quote yet, but it will. This is only my initial start to a very intuitive painting process. It all begins with "mark making" on wet paper.

This draft will be even more interesting to you if you are in my "mark making" class this Saturday. This will be one of the intuitive type recordings and small works we will be doing.

I chose a different paper than the normal selections for watercolor. This happens to be Rives BFK. It is an excellent choice for mark making because it is a printmaking paper and much softer than normal watercolor choices. And yet it receives the watercolor beautifully.

The intuitive process began by wetting both sides of the paper with a sponge (lightly...since it will "pill" if rubbed too hard). The excess water was removed and I began by using two different sized watercolor brushes and neutral tint watercolor to draw lines from edge to edge. My next mark making choice was a stylus used to write into the wet and colored areas. I also used a bamboo pen to write a word and make a few more lines. I then slowed down the process by waiting for the paper to dry just a bit and using more concentrated neutral tint to make additional lines and even writing another word or two with a pointed brush.

You will also notice that there was no intention of making straight lines. It looks a lot less contrived if the marks are more organic. Some of the lines veer off to the side....creating small window shapes. After all was said and done, I left it to dry naturally until the water and pigment stopped moving and then I dried both sides with a hair dryer.

The next step was to glaze on several shapes of green watercolor over the first layer. It is important to keep a light touch and not keep going over one area more than (1) or (2) times. More than likely, there will be diluted gesso or bleedproof white gouache added to add an ethereal look as well as more watercolor. There will also be some pencil lettering created as I go along.

It is a great way to work and all begins with "mark making". Inscribing into wet paint is just one way to create your marks. In the next layer, you will see marks created on a dry surface which will provide a contrast to the softly blurred lines from today. And there you have it...just a few more things to think about.

"Floating Flower"

(unavailable....4" x 6".....on 300 lb. Fabriano CP.....mounted on masonite)

"Floating flower is pure nostalgia." There is something quite mesmerizing about looking at a flower floating in water. This is my interpretation of my hibiscus floating in water from yesterday's posting.

This piece is altogether experimental. In fact, truth be known, most pieces are experimental. The most creative and dynamic images do occur when the piece ends up in a different place than planned. Too much planning can result in a contrived image unless the piece is totally realistic and the technique is flawless.

You might be surprised to know that this piece was originally turned upside down from what you see today and the blue shape was actually an old wall image I was studying and ended up using masking fluid and glazing techniques. There was also a ledge in the wall with a partial flower hanging down. When I finished the flower, it didn't look right to me so I turned it upside down and glazed some orange into the blue / brown shape. And as it turned out the light blue shape has the same curving lines as in the flower and provides a partial echo of the flower shape.

"Changing horses in the middle of the stream"....happens frequently. It can be fun to figure out how to make everything work, but there always seems to be an alternative solution. So the lesson learned today is to view the piece in a different direction before making the final decisions. And there you have it...just a few more things to think about.