"Paz" (draft 4)

(draft 4)

"The Lord will give unyielding and impenetrable strength to His people; The Lord will bless His people with peace." (Psalm 29:11..Amplified) As you can see, I am still working on lettering. I thought about waiting until I was completely done, but decided it might be instructive to see the white charcoal pencil layout before it was all inked in.

Because of the value of the background, I chose white bleedproof gouache for the lettering. It echoes the value of the silver leaf and provides a readable, ethereal look to the text.

In order to write with a charcoal pencil on this type of surface, it is necessary to sharpen frequently...sharpen even more on a sandpaper block...and hold the pencil completely vertical. The nice thing about charcoal is the fact that it is easy to erase after all is finished.

The process has slowed down tremendously with the lettering so it will probably take me another day or two. It always pay off in the end because the scripture that speaks to the scribe will more than likely speak to many others.

I am actually writing the First Century Versals with a pointed pen (in case my lettering friends want to know) and then I plan to write the verse in Spanish and Spencerian Script. And there you have it, just a few more things to think about.

"Paz" (draft 3)

(draft 3)

Almost there. The script and Spanish Round Gothic is to come. The lettering you see today is "paz" (peace) written with black enamel paint from a bottle with a tip.

I must say that I am quite in love with enamel paint now. When it dries, it is very shiny and smooth. Of course, now I am anxious to add white to my repertoire. It is a wonderful counterpoint to the lettering written with gouache or Fluid Acrylics. The surface was prepared for lettering with (1) part gel matte medium to (2) parts water mixed together with a palette knife and applied to the surface with a chip brush.

You can also see that I altered the edges of the fiber and adhered the silver leaf to the canvas. Edges are very important in any piece and the edges you see today are far more interesting than having the same amount of silver leaf coming down the entire length of an equally straight piece of fiber. By removing some of the fiber on both sides, I created some interesting shapes with the silver leaf peeking out rather randomly. And random is a word that is closely aligned with spontaneous. To quote myself...."It takes a spontaneous technique to create a spontaneous result."

The edges created by the chevron stamp are also important. By sanding part of the stamped image, I have created lost and found edges and a gradation with the color of the fiber with a "fading in" and "fading out" effect. The other random technique used was painting black gesso on the back side of this fiber. The sanding produced a deconstruction of part of the fiber and that black gesso then seeps through to the top side. This is much more effective than trying splatter specks in a random fashion.

So the "take away" for today is a study of edges. Try looking at lots of other artwork and see how different artists deal with their edges. It can truly make or break a piece. And there you have it...just a few more things to think about.

"Underbrush"

($60.00.....6" x 6"......Mixed Media on a 2" Depth Cradled Board)

This piece may or may not have a quote. It is acrylic paint so I could take that option tomorrow.....but probably not. Sometimes words are not needed. After taking a walk this morning and noticing a lot of underbrush around the fence line, I decided to come back to the studio and do a small abstract. Unbeknown to my conscious mind, the piece which was created very intuitively, ended up looking like the tangled "stuff" that was very impassable....just a different color. The solid yellow green that has no texture is a direct contrast to the underbrush. In case you want to go deeper in your thinking, this piece also represents the way our thoughts get tangled until we walk into a clearing where there is nothing to obstruct our path. Just chalk this soliloquy up to the meanderings of my mind today.

I began this piece by brushing on some gel matte medium over a 6" x 6" cradled gessobord, followed by the laying down of silver leaf. After I brayered over the leaf and dried it with a hair dryer, I mixed up my paint. Because it is acrylic I liberally added some retarder to the paint with a palette knife to have an open window of time before the paint dried.

After doing my first pass with all three colors of paint, I decided to start over, so swiped through the entire arrangement, knowing I wanted the yellow green to touch four sides of the design space to create a cruciform format. So I laid down the dark green first, follow by the yellow green and white. (only one pass of the knife with that untextured color.)    I then started laying in some line work with a bamboo pen to reveal the silver...swiping it out a few times before I was satisfied.

What is interesting is that I changed the orientation of the piece which revealed what looked like an open wire fence and the brush behind. It proves that we often end up with a piece that directly reflects what we are grappling with internally. And there you have it...just a few more things to think about.

Please contact me personally to inquire about this piece.

"Road Tested" (draft 2)

(draft 2....11" x 14")

In this second draft of "Road Tested", you can see the addition of hand made paper, silver leaf, and a raised inclusion overlaying the silver leaf. The only thing left to do is the lettering.

I created a piece of handmade paper that was dried by laying the wet paper on a texture plate laid on top of a folded towel with a book and a rock on top. It took (2) days to dry. What you are seeing today is a portion of that piece painted with black gesso. I painted it by dabbing it with a sponge brush so as not to tear the paper.

I also cropped the piece to fit an 11" x 14" gessobord panel. At first I had decided to use a glass inclusion, but felt like the silver leaf added a bit of bling and works nicely on top of this "waffle" texture. I sponged on a bit of gel matte medium (straight out of the jar) on select areas and then pressed the silver leaf into the medium. The silver leaf is showing up better on this texture than it would on a flat surface so it is a good technique to use with molded papers.

My inclusion was simply a "cut off" portion from my cropping. I used the rectangular shape as a pattern to cut a piece of 3/8" depth balsa wood. It was cut with a small hack saw and then sanded on the edges. I then painted it with black gesso followed by spray acrylic coating. The mono printed rice paper was then adhered to the balsa wood.

The writing is the only thing left to do. I will write gesturally with a Speedball C-5 nib and Moon Palace Ink, but only after the surface has been sprayed a couple of times with spray acrylic coating and then prepared to receive lettering.

This is a very simple and straight forward approach to using handmade paper as a focal point. There could be many variations on the background. If you want to keep your white or lightly colored paper as is, then you could paint the support black with a few mono printed papers as a support for your handmade paper. And there you have it...just a few more things to think about.

"Fearfully and Wonderfully Made" (Final)

($150.00......8" x 10"....Mixed Media....Mounted on a 2" Depth Clayboard)

"I praise you because I am fearfully and wonderfully made." (Psalm 139: 14...NIV) So here it is with a few more text pieces, some silver leaf, and the verse. We are indeed fearfully and wonderfully made. I deliberately made this piece extremely complex to visually describe the intricate nature of the human body.

Today is a recap of all that has taken place since Monday. Please know that I did not spend hours each day on this piece. Most days, I spent app. (2) hours studying, placing, deciding, and then adhering.

The initial mono printed papers inspired the selection from psalm 139. I learned long ago that it is much easier to be inspired by the image first rather than trying to create a piece based on preconceived concepts. Of course, this is not always possible, but if you can possibly work by allowing the piece to tell you what to do next...I have discovered that it works better, looks less contrived, and I learn a lot from all of the unexpected surprises.

Since yesterday, I added a few more selected verses from Psalm 139, using text from a smaller bible which adds another contrast. Those additional pieces were adhered yesterday afternoon.

This morning, I decided on the placement and size of the text, prepared the surface for lettering, (2 parts water + one part gel matte medium applied 3x) After the lettering was completed, I decided the piece needed some silver leaf.

The beginning decision to have a cut edge and a torn edge on every piece of mono printed paper and then the silver leaf adds unity and rhythm to the piece. Deconstructing the additional colored mono printed papers was also a unifying factor that also contributed to the rhythm. By making these kind of decisions, I have created a piece that looks like a weaving. It reminds me of fiber art and the truth be known...I was probably influenced by the beautiful art quilts I have seen at the International Quilt Show in Houston.

The one thing I did leave alone (almost completely) was the dynamic gestural marks in the top half of the piece. I added just enough elements that were in the bottom half to create an echo, but not too much. All in all, I am happy with the piece. You can look back at the last (3) days of postings and see for yourself if you would have stopped before arriving at the piece you see today. And that is a good thing about photographing a piece after each layer or two. It helps to inform your decisions about future pieces.

Are there things I would have done differently? You bet, and that too, is part of the process. Every artist I know might have (1) out of a 100 pieces that they would not change at all. And there you have it...just a few more things to think about.

Please contact me personally to inquire about this piece.

"Alive and Active" (Final)

($125.00......6" x 12".....Mixed Media on 300 lb. HP....Mounted on a 2" Depth Clayboard)

"Words become alive and active when they take root in the heart." This quote was inspired by Psalm 119 and I chose the placement of the lettering to be in the interior of the piece and readable but not dominating the piece. This offers up a comparison with the heart being a small organ located in the interior of our being. On the other hand, all of the gestural marks and lettering visually describe words as being alive and active by the nature of their movement.

I am in a week long glass fusing class with the discussion and projects all centering around abstraction and design. The class had a rather open discussion yesterday about how often an artist creates their original concept to come out exactly as they envisioned it to be. The answer was never. 

Artists can invite disaster by expecting or trying to get their work to fit into a preconceived mold. It simply doesn't work that way. Having a general plan or concept is very wise, but the piece yields surprises as it moves along. And it's those surprises that give it the energy it needs to be successful and appreciated by the viewer.

It's really all about making design decisions along the way. More often than not, each piece gives you a bit more experience and informs the decisions for the next piece and the one after that....etc. So it is best to study your own work and see where you are with your habitual marks, textures, colors, etc. and then build upon that. It is impossible to begin your process where some other artist left off. You can only start a new piece where your last one left off.

For instance, I knew that a grid format created in an erratic fashion would create a visual punch. I also knew that silver leaf looks fantastic with black, text pages, and rice papers. I knew all of that because of my past pieces. However, I had no idea where the text would end up and this is the first time I have used pointed brush lettering and burnt sienna in this mix of elements. 

So now I have another piece under my belt and I know a bit more and I hope you have learned a bit more by observing my process. In the next few days I will be posting some of the work I am creating in the glass fusing class. And there you have it...just a few more things to think about.

Please contact me personally to inquire about this piece.

"Alive and Active" (Draft 2)

(unavailable)

"Words become alive and active when they take root in the heart." As the piece evolves, I am beginning to see exactly what I want to emphasize in relation to the quote. There will be one more draft tomorrow and then the final on Sunday.  

On another note,  tonight is the Opening Reception for "Fully Alive" at The Open Doors Gallery at Hill Country Bible Church of Austin.  The public is invited.  Details can be found at the following website (http://pactofaustin.com/)  Hope to see you there!

I hope you can see that a grid like format gives a lot of structure to a piece. It gives many shapes to work with. (Remember that all paintings / pieces are made up of shapes.) It is a good idea when beginning the first layer to have some kind of format in mind. And it's okay if it changes along the way, but to simply place papers anywhere with no format or layout in mind is to invite disaster. 

So yesterday, I had laid down metal leaf in an informal grid like format by cutting up the metal leaf into irregular squares and rectangles and making sure to keep slivers of the black exposed. I had also added a bit of text on some of the silver pieces...allowing the edges of the silver to be revealed and in a very irregular way.....in other words, don't get out a ruler and measure. 

Today, I added more text on the remaining silver pieces and then added plain rice paper over most of the text, but leaving some of the edges and text exposed. It is all about deciding what to reveal and conceal and to what degree. 

I then added some mono printed rice papers and deliberately covered up some of the black in the background but leaving some of the previous edge of the plain rice paper showing. I also made a conscious decision to keep the mono printed rice papers around the periphery as though it is framing the central portion. The middle top piece has no mono print to visually interpret the quote by suggesting that somewhere in the piece there is an entrance into the center.

Today I plan to add more plain rice paper and further emphasize the strong black erratic lines that you see today. I may also choose to cover up a portion of the mono printed rice papers to make more irregular shapes. The last thing I did today before photographing the piece was to spray the entire thing with spray acrylic coating which brings out the patina of the old text pages and makes the plain rice paper translucent. And there you have it...just a few more things to think about.

"Alive and Active" (Draft 1)

(unavailable)

"Words become alive and active when they take root in the heart." This is the first draft of a new piece. My purpose is to show yet another way of beginning a mixed media piece and how the first layers help to establish the foundation.

It may seem a bit wasteful to cover an entire design surface with a particular material such as text pages or in this case...metal leaf. However, the decision to cover the entire sheet will give you options as you continue to layer and make more decisions.

The metal leaf in this piece is simulated silver leaf, purchased at an art store with a thin paper backing. You should look for metal leaf that states on the package that it has a backing because it is so much easier to apply. If buying real gold or silver leaf, you look for the word "patent" which means it has a backing.

After coating a piece of 300 lb. HP with black gesso, I began the process of adhering the leaf to the support. I began by cutting the larger sheets of metal leaf into quarters. I did this because I was trying to create a grid like pattern with the black gesso showing between the leaf in an erratic way...(in other words, there was no measuring or precision involved). The Gel Matte Medium was brushed on to small areas with a sponge brush and the leaf laid down into the medium. I then rubbed the backing of the leaf and removed the orange backing paper. So that is what you are seeing in the first draft. 

The next step was to adhere text over portions of the leaf. (I did leave half of it undone so you could see the progression.) Now as the piece progresses, you will wonder why I "wasted" the metal leaf by placing it everywhere since a fraction of what you see today will be showing in the final piece. And the reason is.....I like options. If I must worry about where the leaf is strategically placed in the beginning, it begins to narrow down my design choices dramatically.

And that is the process of layering. It is all about laying things down....covering portions up...laying down more things...etc. I may have selected a quote, but the truth of the matter is, that this piece will change dramatically as I progress. And there you have it...just a few more things to think about.

"Silver Lining"

($40.00.....6" x 6".....140lb HP mounted on a 1/8" depth clayboard panel)

"Grace is the silver lining behind every cloud." As you can see, I've taken liberties with a classic quote. The unmerited favor of God is certainly a silver lining whether there is a cloud or not.

This piece is a compilation of three sections of discarded sections of mono printed rice papers, old book pages, and silver leaf. The silver is hard to see on a computer screen, but it is clearly visible in the original.

I did need to add some more turquoise on the section at the bottom to tie it into the rest of the piece, but this is a great way to use up the "cropped off" areas from other works. It is amazing to see what elements actually go together that you would never have been able to plan in advance. So this is another spontaneous technique that can be exploited. 

Also notice that the gestural marks in the mono print contain a variety of thin and thick lines. This is much more interesting than just having one or the other so that is a good point to remember when doing these kinds of works. And of course, the thick and thin lines are precisely why hand lettering is so appealing. It provides a great contrast between the very straight and precise text in the collage. Another contrast is between the silver and the neutral colors. Pencil lettering also adds another weight and dimension to the mark making. And there you have it...just a few more things to think about. 

Please contact me personally to inquire about this piece.

"Recharge Zone"

($40.00.....6" x 6".....mounted on a 1/8" depth clayboard panel)


"A recharge zone is a place of renewal." Everyone needs a recharge zone. It's that place or activity that helps you "chill out" and get renewed. If you're like me, you need more time in your recharge zone.

This is an interesting piece and was a total experiment in layering over a pouring medium piece. Because I've created and looked at a ton of these type of pieces, I am wanting to take it to another level by integrating other techniques into the process. Pouring medium is a very "charged" look and process that can also be overpowering. My desire is to bring in enough other elements (but not too much) that will create a contrast between active and passive.

For the most part, that means introducing some very straight lines to counter the active movement of the pour. I may have too much of a "counter attack" going on here, but part of my purpose for blogging everyday is to work through all of the design issues that come up with mixed media processes.

What I do like very much is the lovely texture created by writing into Speedball Printing Ink (with water)that has been applied over Silver Leaf. Of course, the silver leaf was adhered with Gel Matte Medium and then partially removed. It sticks very well most of the time, but it is necessary to reveal the previous layer so I used rubbing alcohol and a stiff brush, following by immediate blotting with a kleenex to create all of those erratic edges.

And if you don't have time for a piece every day, you might want to try doing one 6" x 6" every week. Putting a piece together is a wonderful way to learn design because of all the decisions that must be made to bring the whole thing to a conclusion. So there you have it...just a few more things to think about.

Please contact me personally to inquire about this piece.

"Warm and Fuzzy"

($40.00....6" x 6".....mounted on a 1/8" depth clayboard panel)


"Warm and fuzzy feelings do not create art; knowledge, skill, and actions do." This is the occasion of my 500th posting, so I feel like it is entirely appropriate to talk about what it takes to create art every single day. One thing I have learned...warm and fuzzy feelings and waiting for the spirit to move me do not get it done. Some of my best work has been created on the mornings when I just wanted to drink my coffee and go back to bed. And that's the secret...you must show up in your studio every day.

I am making every effort in my pouring medium pieces to learn how to fine tune them by knowing when to manipulate the color...when to leave it alone...and what to add to bring the design to a solid conclusion.

In this piece, I chose colors that remind me of South Texas and the Mexican culture I grew up in. Color plays a hugh role in the Mexican culture and so I spend a lot of time looking at visuals of haciendas, patios, decorated pots, painted tiles, etc. so that I can absorb the color.

In this piece, the strong color contrast is not between dark and light, or direct complementary colors...it's between warm and cool. The light aqua color is a strong contrast with the raw sienna and Hansa Yellow Medium. The bright yellow in the bottom portion is actually Green Gold (Golden), but it looks totally yellow due to its surroundings.

There are actually (7) color contrasts and it is wise to know what they are and include at least (4) of them in every piece of artwork. The most definitive book on color contrasts is The Elements of Color by Johannes Itten. This is among my top five picks that should be in every artist's library. I refer to it often and I owe my study and introduction to this fine book to Hazel Dolby who used it as a building block for a workshop where we learned to paint and letter on primed and gessoed surfaces.

Looking through decorating magazines is also another way to hone your color matching skills. Try to use the same percentages of color that are used in a well decorated room with colors you like. Remember, that it is the percentages that draw you in...not just the colors.

The last thing that needs to be said about this piece is the fact that I only manipulated two bands of color at the bottom where you see the detail. The other colors were poured and left completely alone. You can see how that gives areas of rest where the color is subdued with very little detail. I did add the silver leaf and stamped color block to give a contrast to the moving lines of color. And there you have it...just a few more things to think about.


Please contact me personally to inquire about this piece.

"Silver Lining"

($40.00....6" x 6"....mounted on a 1/8" depth clayboard panel)


"Every design issue has a silver lining." As you might guess, this quote is a "take off" on another familiar quote..."Behind every cloud is a silver lining." Silver leaf has an amazing ability to change a shape that may not be attractive. So look for the silver when faced with a design issue.

This pouring medium piece was poured over a base of raw sienna, white, and pouring medium. (The pencil lettering was written on the blank paper first.) I did not manipulate the color in any way with a plastic fork or other tool that creates a marbling effect. The brown shape was a bit odd and took over the piece so I resolved the problem by laying down silver leaf over an area brushed with gel matte med. Leave it to dry for a few minutes before removing the backing paper. Go do something else for about 20 min. and then brush over the silver with a stenciling brush to remove parts of the silver and reveal the layer underneath.

Of course, you cannot stamp over metal leaf because it is slick so prepare the surface as for lettering (2 parts water to 1 part gel matte med.) and then stamp using Speedball Printing Ink. In this case I had to mix black and brown to create a raw umber. This is the first time I've used metal leaf with pouring medium and I am satisfied with the results. It's a great way to alter an undesirable shape as well as to introduce another texture that will directly contrast with the smooth look of pouring medium.

And there you have it...just a few more things to think about.

Please contact me personally to inquire about this piece.

"Neutral"

($40.00....6" x 6".....mounted on a 1/8" depth clayboard panel)


"Put your life in neutral to calm chaos." There is a contrast in this piece between neutral colors and chaotic texture. In life we must all find ways to put our life in neutral in order to stay sane and keep from spinning out of control. Whether it's taking a walk, sitting with a friend, or reading a book, we all need to put our life in neutral for part of the day.

This piece was created much the same way yesterday's posting was created. I simply chose to use neutrals. After the solid acrylic color is placed over the entire surface of textured gesso, it is important to start thinking about creating shapes.

All of the other layers of colors after the dark turquoise were Speedball Printing Inks. They were applied in this order...white...brown + black....orange + brown + lots of white and a bit of turquoise. The very last color was turquoise added to the peach mixture.

what makes this and all other types of layering work is the ability to break up the surface tension in a convincing way. Thinking in shapes will help, but then you must break up the surface in some way to reveal the previous layer. In this piece, I used a pointed pen, a ruling pen, and water, followed by blotting.  The initial raised texture of the gesso and several places where glass bead gel was applied also helped achieve the revealing of a previous color. The shapes give it the structure and without that structure, the human eye does not know where to look.

Other ways of breaking up surface tension could be sanding, gouging, transparent paint or collage elements, blotting, etc. The most obvious way is simply to leave a portion of the previous layer untouched. However, this is not as subtle or convincing and may create too many hard edges and if all your edges are hard, your work will be very difficult for people to view. So there you have it...a few more things to think about.


Please contact me personally to inquire about this piece.

"Deep Longing"

(unavailable)


"Solitude is a place of deep longing for the only One who can satisfy." Many pursuits can give temporary satisfaction and take up hours of our time, but we were created to have an intimate relationship with God. That is the only thing that can truly fill the deepest longing of our soul.

This piece is another venture into contrasting opacity with transparency. A good rule of thumb is to choose equal pieces of opaque collage elements and transparent elements. By arranging them various ways, you will eventually find the right overlap and placement for each piece. The wonderful thing that happens is that you can see every layer in the piece. It is one of the most effective ways of achieving depth with layering.

The initial background was begun with gesso with some areas having a lot of texture. That, too, will add another dimension to your collage. Cadimium Orange was painted over the entire gesso surface with a solid application. Speedball Printing Ink came next, leaving some of the orange peeking through. At this point, you must spray with acrylic coating because the printing ink is water soluble. Silver leaf was then adhered one section at a time over gel matte medium straight from the jar. If the silver leaf looks too solid and static...simply apply some gel matte medium to your brayer and roll over the surface. The stickiness of the medium will pull more of the silver leaf from the surface.

All in all, this is a wonderful way to create a collage. It also helps to have some silk tissue paper (the most transparent paper I've ever found) and be able to print it on your printer. Simply make a copy of the image on regular paper...watch how it exits the printer...use removable tape to tape the transparent paper over the image...and send it through the printer again in the same way it went through the first time. Spray with acrylic coating and you will be ready to adhere it to your surface. And there you have it...a few more things to think about.

"Texas"

(unavailable)

"Texas is my home." There are a few images that have a direct association with our fine state. One of those images is one head of cattle or an entire herd. Ever so often, I must return to those images in some form or fashion since I am a native Texan. If your birthplace doesn't happen to be Texas, then I extend my deepest sympathy and regret. But I am glad you got here as fast as you could!

This is not a complicated piece, but it does require several steps with drying time in between. The first layer is gesso on Rives BFK paper applied with a sponge brush and texturized with a credit card and gestural writing. It has to be applied moderately heavy to receive the texture.  This was left to dry overnight (or all day).

On the thoroughly dry surface, I painted a substantial layer of Cadmium Orange straight out of the tube. This was allowed to dry all day. In the evening, I applied Black Speedball Printing Ink with a brayer. Complete coverage was not my goal since I needed some of the orange to be peeking through. The ink was dried with a hair dryer and sprayed with Spray Acrylic Coating.

I then applied the silver leaf one section at a time. Be sure to purchase the kind that has a backing attached and cut each page into four sections. Brush Gel Matte Medium (straight from the jar) on one small section at a time and lay the leaf down. Press over it with your fingers and allow to set for about a minute or two before removing the backing. Leave some space between the sections. By the time you're through, you will have formed a grid like pattern over the entire piece.

The surface was prepared to receive more paint by brushing on (2) parts water to (1) part gel matte medium. I mixed up my acrylics for the "steer" with some retarder to extend my working time. The "steer" was then painted with acrylics and a palette knife. This was allowed to dry overnight. Lettering was added this morning. And that's how it's done! Just a few more things to think about.

"Freedom"

(unavailable)


"Persons who forfeit responsibility are not free." There is a difference in truly needing help or simply forfeiting responsibility. Those who forfeit responsibility are enslaved by their own apathy. I choose freedom!

This is probably the simplest composition on the planet. I did vary the horizontal bands that look like a cropped version of the American flag. They aren't absolutely straight or the same width. Those slight variations and the scratching through the silver leaf add more textural interest to something that could look very static. (The paint was applied over a textured gesso base.)

It also helps to add a focal point with a contrast of line such as the word "freedom" as well as the quote written in spencerian. The final touch was charcoal powder brushed along most of the edges.

So whether you're composition is simple or complex...it still boils down to division of space, designing the corners, breaking up the surface tension, transparency, and lots of contrast of line, values, and color. And there you have it...just a few more things to think about.

"The Library" (sold)

(sold)


"Books have the power to take you to far away places and very deep thought." Some of my fondest memories are curling up in a favorite chair and enjoying a good book. There is something very rich about holding the book in your hand....even if you have an iPad or Kindle. My library is my prized possession. How about you?

In some of my larger works, I have completed at least 6-8 pieces over the last few years that I call "library pieces". They all contained collage elements that were very old and generally they all contained small and very old books I have purchased in antique stores across the country. Some of them had a window cut out of a book cover that was filled with an inclusion of fused glass. None of those pieces are in my possession now so I am concluding that library pieces with a very traditional look are still in demand.

This piece reminds me of some of those works for the same reasons. This piece has an old book page, a piece of very old music from a hymnal, some of my own lettering printed on silk tissue paper and a stock photo of a butterfly. An excursion into a library will often have a wall piece containing specimens of butterflies or drawings of plants, etc.

Without intending to, after the pieces were assembled and shapes were formed, I looked at the piece from across the room and the orange shape from top to bottom reminded me of a book mark. The "bling" is the silver leaf. The upper right hand segment was dulled a bit by rubbing on some walnut ink and then blotting.

Another technique with Speedball Printing Ink is in the bottom right hand corner. If you brayer on the printing ink and let it dry, you can dip your pen into water and write into the ink and reveal the color underneath. Likewise, you can drop water or make a fingerprint into the ink and create some texture. I encourage you to try some of these things and see how your library pieces turn out.  And there you have it...just a few more things to think about.

"I Owe You"

($40.00.....6" x 6"....mounted on a 1/8" depth clayboard panel)


"Every success can be attributed, in part, on the influence and help from others." Whether knowingly or unknowingly, we all affect or have been affected by the influence of others. Every conversation and action has the power to impact someone else negatively or positively. Let's go for the positive!

This piece is essentially an experiment in learning more about how to create complex textures by breaking up the surface plane and focusing on extreme contrasts.

It began with gesso that was texturized and left to dry overnight. This morning I applied black Speedball printing ink with a brayer...dried it with a hair dryer...and then brushed over it with a sponge brush dipped in water. That action was followed by blotting with a kleenex. The operative word here is blot. Wiping would kill the printed look that you can get with this ink. After being satisfied with the texture, I sprayed with acrylic spray coating. Silver leaf was applied to areas that had been brushed with gel matte medium. To break up the surface of the silver leaf, I removed parts of it, especially around the edges to create the erratic texture seen under the letters "i...o...u..". White Speedball printing ink was applied and also dried, rewet, and blotted to break up that surface.

Learning how to break up a surface and allow the previous layer to show through is a key component of integration. Remember also, to have distinctive shapes, contrast of solid and broken edges, and something different in the corners. And there you have it. Just a few more things to think about.

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"Enjoy"

($40.00....6" x 6"....mounted on a 1/8" depth clayboard panel)


"Linger awhile and enjoy the process." It is often difficult to "linger" over anything because of the schedules we all keep. To really make progress in any area, it is essential to make time and space to linger over the process. My definition of "linger" is to stay in the process as though time were standing still. Enjoy!

The piece today is texture to the extreme. I began with molding paste and texturizing with gestural marks and glass beads dropped into the paste. This was left to dry overnight. This morning, I applied black Speedball printing ink with a brayer. After drying it with a hair dryer, I rewet it and blotted it in areas to create some grays.

The silver leaf was applied over a base of gel matte medium. As I pressed it into the paste, I began to remove small areas with my fingers to break up the surface. After applying the ornate capital, I realized I wanted some color. I used Venetian Red gouache which is brighter than burnt sienna, but not quite a red. It was applied with my finger and water applied to soften the edges and also to break up the surface a bit. Breaking up the surface is important to keep it integrated with the rest of the piece. Also, by placing the color in four corners, it gives the illusion that there is another piece of paper underneath the black.  (Gouache is not permanent when dry and is also opaque, so it is the perfect choice for this type of application.)

This may be too much texture for you, but it is always good to experiment. I learned that the glass beads really do best when painted a dark color and then applying another color skimmed over the top of them such as the upper left hand corner. And there you have it....just a few more things to think about.

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"A Steady Beat"

($60.00....6" x 6".....mounted on a 1.50" depth clayboard)


"History is a steady beat of new turning into old." Isn't it amazing how items our parents used are now seen in antique stores...and bringing a hefty price? History marches in rhythm to time and even today, we are all making history. Make it a good one.

This piece is a combination of gesso, acrylic paint, silver leaf, collage elements printed on silk tissue paper. Notice that the focal point runs from top to bottom, dividing the space and other elements into interesting shapes. I've been looking at work by other mixed media artists. The very best compositions have color, line, and shapes that extend to at least two sides of the design space.

The very old bits of a book spine from the 1800's is a powerful part of this design. The other bits were in my stash and printed on silk tissue paper. Notice also that there is a contrast between straight edges and erratic edges. So there you have it....a few more things to think about.


Please contact me personally to inquire about this piece.