Next to my field sketch kit, I think my bicycle and a cup of tea are probably my most valuable "art tools." Those of you who have read my blog before (and Thanks! if you have) probably know I get much of my inspiration from quiet cups of tea among my flowers and my long bike rides on country roads.
Artists, flowers, tea, and cats seem to always go together. One of my long time favorite books, Kazuko Okakura's The Book of Tea is a wonderful companion in consideration all this. Written for Westerners as an introduction to Japanese aesthetics and culture in the light of Teaism, it was the book Georgia O'Keeffe request be read to her when she was bed ridden near the end of her long life. I highly recommend the book. You will never look at things quite the same way again as this profound and delightful little book has a gentle way of opening your eyes a bit wider to the world around you with all its beauty, sorrow, joy and pain.
Yesterday I kitted out my bicycle for a very specific annual mission: collecting wildflowers. Normally, I would discourage anyone from going willy nilly flower picking. It really is nice to leave the flowers there for all to enjoy especially when I recall a quote from The Book of Tea:
“Why were the flowers born so beautiful and yet so hapless? Insects can sting, and even the meekest of beasts will fight when brought to bay. The birds whose plumage is sought to deck some bonnet can fly from its pursuer, the furred animal whose coat you covet for your own may hide at your approach. Alas! The only flower known to have wings is the butterfly; all others stand helpless before the destroyer. If they shriek in their death agony their cry never reaches our hardened ears. We are ever brutal to those who love and serve us in silence, but the time may come when, for our cruelty, we shall be deserted by these best friends of ours. Have you not noticed that the wild flowers are becoming scarcer every year? It may be that their wise men have told them to depart till man becomes more human. Perhaps they have migrated to heaven. Much may be said in favor of him who”
You may think me particularly cold-hearted to venture forth with my scissors (very sharp to keep the botanical shrieking to a minimum) and press after reading that quote, but my mission is a very deliberate, albeit somewhat futile one. I am trying to capture a season. And in doing so prod both myself and my students to truly see and see more. The contemporary Dutch artist Frederick Franke in his book The Zen of Seeing says that what he has not drawn he has not truly seen. These flowers preserved lovingly between the pages of my press provide endless opportunities for creativity and seeing throughout the year to come. They will be used as drawing and painting models, as part of art works and as ingredients to various art media, specifically dyes and papers.
In venturing forth yourself, I recommend that you familiarize yourself with the local pants (especially common allergens like poison ivy) as well as endangered or protected plants, such as the Black Eyed Susan in Maryland, which is the state flower and therefor protected. I also encourage you to make your own press. My husband designed and built mine for my specific needs and use. Here is a link to a DIY flower press:
I hope this post inspires you to read, drink tea, grow and draw the flowers and to go and see the world around you in a bit more detail. There are a few pictures below of some of my favorite local sights. As always feel free to ask me questions and/or leave comments below.
Like most people the white emptiness of a sketchbook page can intimidate me. Even with years of dedicated practice starting a new sketchbook or even a page can be a hurtle. I purposely purchase sketchbooks whose binding design inherently makes it difficult to tear out pages. I tell myself, and my students, that to tear out pages is to deny yourself the joy of seeing your own progress. Sigh, but which one of us does not have pages in are history that seem best left not revisited. Oh well, that's my mantra and I'm sticking to it, because I'm pretty sure it's good for me in the long run both artistically and humility is supposed to strengthen everyone's character, right?
So how to get past the whiteness and emptiness of the page? I've developed a few strategies:
1. Pre-painting a background color on a page. I find a better quality sketchbook allows you the freedom not to worry about it falling apart from months of hurried stuffing into this bag and that as well as being toss, dropped, and generally abused. In addition, acid free, mixed media (for both wet and dry media) paper allow you the freedom to use what every media you need/have for the situation and subject. I usually pre-paint a least a dozen pages in my sketchbook, some solid backgrounds, other I create shapes and half sheets with painters tape. I always keep complete blanks in between the painted pages, just in case! Then I choose the page that seems best suited in situ. I am sure to date my sketches because this of course means that you work is not in chronological order.
2. Decorative papers. Think "scrapbooking." My love of Asian Art led me to the practice of framing, edging and even binding in pages with decorative papers. Occasionally, I create pages with various shapes of pattern and then work my writing or drawing as part of an overall composition.
3. Sketches, seconds, and mementos, again scrapbooking techniques. Loose trace paper sketches can make wonderful overlays that you can incorporate into an overall page design and still include notes if you like. Printing seconds, works that you are less pleased with`, or loose small works (like postcards) with can be mounted and framed, or trimmed and employed as decorative elements. The same can be done with greeting cards. I recommend using a standard PVA white glue (like Elmer's) instead of a glue stick. Glue sticks are convenient and can work well on travel. However, I have yet to find the one that doesn't eventually give up after a few months.
4. Lastly, I am quite fond of little panoramic, accordion sketchbooks also known as Japanese albums. I have had good luck with Pentalic and Moleskin brands for mixed media work. One word of caution here. Be sure the buy two books, if possible, or remove one or two panels of the book you have purchased and rebind with a simple tape binding in order to have pages to experiment on. I have worked on some beautiful handmade papers but, fought them the entire time because I was really asking the paper to do something that it didn't do well. For example, Crow quill pen on soft cold press paper or ink washes on paper with little or no sizing so the bleed was difficult to control.
With these panoramic books, I like to keep a few blanks on hand as well as several with different pre-painted backgrounds. I prefer watercolor, experimenting with different effects like tea staining, salt, and plastic wrap. Sometimes simply daubing the wet wash with a sponge, or tissues can give a wonderful effect. Some are washed with non-staining pigments so I can lift later to obtain highlights. Others I just see what happens. I do try to keep a record of what the washes and effects are however, in tiny notes in pencil on the back of the page for future reference.
Above are some samples of all the techniques I have described above. Since it is summer, I make the most of my addition time to prepare a number of pages and books for the upcoming busy months. I hope this helps you overcome the white emptiness and feel free to share in the comments below any strategies/techniques you have discovered!
Pretty much everything with a friend is better and art is no exception! It was great fun a few weeks ago to be hostess to the Art Ladies, as we've come to call ourselves. This was the brain child of my printmaking mentor, just like mind women, getting together to draw on a Saturday morning once a month and then share over lunch what we made. Only our second outing, the group decided to explore my home Scientists Cliffs for sketch subjects and fossils. It was a wonderful exercise in appreciation to see where I live from the eyes of newcomers to the landscape. Also, it was a nice kick in the pants to myself to pick up my sketchbook and pencil here at home more often!
I feel in love with a wild grape vine while on the beach which turn into an ink line study that I'm hoping will be a fun start for a new printmaking project.
When I was a sole proprietor I learned very quickly there are many compelling reasons, besides monetary ones, for accepting a project. Experience/education in a specific field, and desire to work with a certain expert/client were all lures when I reflect on past commissions. There also was the hope of exposure to a broader audience, and meaningful purpose that peaked my interest. And last but certainly not least, love for the work itself. These are all important "rewards" that go beyond a simple paycheck. Of course, the best projects are some combination of all the above. A sense of doing meaningful work as well as a sense of accomplishment/acknowledgment and growth are essential in any profession no matter how grand or humble by societal standards.
This past month my colleague, who is a composer and our department chair, asked if I would be interested in participating in creating a gift for two administrators that were leaving the school where we teach. He noted that these two administrator had spent literally years working together across a table from each other. This inspired him to create a work of "table music." Now, I was a dutiful, albeit less than diligent and inspired music student in my youth and had never, to my knowledge, encountered this term. So, if you are reading this and feeling suddenly ignorant don't...I had to have it explained to me too.
Table Music or Tafelmusik in German originated during the mid 16th century and became popular through the 17th century at feasts and banquets. According to my colleague and the composer, these compositions were intended to delight and entertain. That being said, the sophistication and skill necessary in composing this musical parlor game astounds me! Here's how it works: There is one sheet of music between the performers sitting across the table from each other. I read/perform it as the music is written facing me and you read/perform it as the music reads facing you at the same time. Together we make Tafelmusik.
My colleague asked if I could calligraphy the final sheet music. The plan was then for another colleague, with far greater digital technical skills than me, to scan the sheet music and then laser cut it on to stained wooden plaques to be presented as gifts. How could I say no? This was new territory for me for I had never created music calligraphy before, it also was a chance to work closely with my two colleagues each in an area of expertise they possessed that I did not so I knew I was going to learn a lot! And lastly, there are few things more meaningful than being part of creating a gift.
Above you can see the gallery of my progress and hear Rob Redie's original composition "BeaLize." Rob made the composing seem as if it was fun and easy for him. But, isn't that always the way when someone is truly talented? For me, there were a number of challenges. The main one was my coming to understand how the music was structured and the different measures and notes related and aligned with each other vertically. The visual hierarchy of line based entirely on line weight was deeply considered as well. This was of special interest to me as it was a different way of using this visual tool than in my previous drafting experience. I also came to a deeper understanding of musical notation in general, which is an entire language of line, exquisitely beautiful lines. Working this way I had many hours to consider how we express ourselves through a seemingly endless variety of line, a very abstract and symbolic form of communication for our most concrete ideas. There is a terrific short video from PBS Art Assignment on the subject of abstraction and how it is not as foreign to our sensibilities as we might first think.
So there it is, one of those rare and wonderful times where I had the opportunity to do something new for my portfolio, learn from experts, work with great people doing something I love to do for a meaningful purpose. It was a good project!
There is nothing like Springtime to inspire me to go walking and biking with my field kit. Pictured here is my kit which I purchased from Cheap Joe's Art supplies. You will notice that it is a converted traveling bar for two. I was unaware of this when until it arrived. The dead give away was the inclusion of the metal swizzle stick! When it first arrived I had a good giggle about this, but believe it or not it has proved to be a wonderful artist's toolbox! Since it is "for two" if you do opt for it to serve a duel purpose, just be sure to label your water container, ha! ha!
My first bike ride out for this season I was captivated by a cheery tree. There was something poignant and lovely about this time worn little tree blossoming into life again. As I drew, I was thinking a great deal about two artists I admire: William Hamilton Gibson and William Trost Richards: in particular, their sketchbook works. I truly aspire in my own works to their mastery of minimalism in media, line, and value in capturing the essence of their subjects. The more I draw and paint the more it seems to me that the great modernist architect Ludwig Mies van der Rohe was so right, "Less is More." Despite the fact that it seems strange to compare 19th century painters with a 20th century architect. And although I am by no means an expert, I know this seems to be true of poetry as well. Exact word choice and the ability to be expertly concise lends great power to the poetic work. This struck me recently as I have been reading Rilke's The Book of Hours (Babette Deutsch's translation). It is a beautiful series of poems that celebrate God, humanity and the artist as the most conscious aspect of humanity. What truly astounds me is the spontaneity with which both painters and this poet created. It seems to me that this too is the hallmark of a great master of one's chosen medium.
My minimalist tendencies continued when I awoke the next morning to find my cat in a state of feline bliss while napping in our bed. Sometimes a line it seems, like the right word in the exact spot, can speak volumes about your subject. At least that was my goal in sketching him and it gave me great appreciation for the wonderful cat sketches in ink by Theophile Alexandre Steinlen.
To see more of Steilen's works check out this blog post from the Met:
One would think with all this advance "think time" the opportunity to paint landscape would be completely embraced. However, just the opposite was true. Being concise has never been my strong point in either word or deed. When faced with an entire landscape I was truly stymied. Even the inspiring landscape of River Farm on the Potomac River could not aid my lack of skill! So despite this, I embrace my "Inner Bob Ross" and sallied forth. One can't disappoint the artistic spirit of one of the most well-know artist/educators of the 20th century after all.
I would love to say that I'm proud of my work, but in this particular case I am choosing to focus on the creative process. So, what did I learn? Well, I was reminded that humility and a sense of humor are absolutely necessary as an artist! That River Farm is a beautiful and artistically inspiring landscape that I would love to revisit. That I was indeed fortunate to be surrounded by like minded artistic companions. I learned too that I did possess juuust enough self-discipline to turn my back on rows and rows of breathtakingly beautiful tulips, suppress my detail oriented eye and engage in a new broad perspective: landscape painting. Lastly, but, most importantly I learned that landscape is all about values, and not color.
But, of course, the very weekend next bike ride I sat for a pleasant hour and painted this fine fellow on the side of the road. It felt like such a compliment that he dozed off as I painted.
However, don't worry, I haven't given in to my baser desires and abandoned landscape painting. For some strange reason, I've always wanted to become proficient in this, so expect more attempts because after all Einstein said: Genius (or rather mastery) is one percent inspiration and 99 percent perspiration, and I have the summer ahead for that!
It was an amazingly informative afternoon with regards to developing my visual arts curriculum. But, as an artist myself, and new to printmaking I was amazed at his interest in so many subjects from the religious, to classic literature themes, to poignant domestic scenes, all framed within the African American experience. I was also stuck at how he was constantly looking at art and experimenting with his own work. He was amazingly productive and often his techniques highly complex requiring a great deal of technical skill. It was inspiring too to discover that he never quit his day job being a social worker. I think my biggest take aways were the gestures of his figures as well as the use of line and planes of color. I know I'll be digesting what I saw and heard for many days to come! My favorite images from the exhibit, all screen prints, are below:
Last week I had the opportunity to attend a basic book binding workshop. The workshop instructor was the experienced artist, book binder, and calligrapher, Joan B. Machinchick. What I truly appreciated was the workshop pamphlet that Ms. Machinchick created for each student, complete with Japanese Stab binding! This was most appreciated because I often find that in note taking during workshops I often miss an important part of the demonstration. This way I could just listen and watch. Under her guidance, we created simple two signature sketchbooks using marbled paper as the cover. The project is shown here:
My design based on a number of different references from various French and English illuminated manuscript styles, decoration, and fonts. I first sketched it in pencil. Then, using transfer paper traced the final image on to 90 lb. watercolor paper. This was a cold press, however, in the future I will use hot press to insure as smooth a paper surface as possible in order to capture the detail and such a small scale. Note this image is only 4" tall! The gild was a liquid decorative gold paint applied with a watercolor paint brush. However, I have used real sizing and faux gold leaf. This process is faster more convenient for capturing small detailed areas. Also, the liquid leaf does not demand the expertise necessary for applying gold leaf well. The final was painted in watercolor and then outlined in India ink.
Recently, I had the good fortune to attend an afternoon workshop with the wonderfully talented artist, Jean Brinton Jaecks to design and paint an initial letter in the style of medieval manuscripts. This workshop was part of the Mitchell Gallery's (on the St. John's College Campus, Annapolis, MD) latest exhibit "Painted Pages." To see more about the exhibit click here:
The images on top are my project. The gallery of images below that are the step by step workshop demonstration. Ms. Jaecks used watercolor pencil. I am hoping to create more images based on these techniques, so stay tuned!
In my own work I seldom, if ever, find inspiration in societal observation or headline news. However, I greatly admire those who can and do employ their art in a meaningful manner as statement with regards to powerful social commentary and in sharing their personal experiences and musings of their own conscious. The recent Faculty Student Show at the Fashion Institute had several moving pieces that I wanted to share. I hope you find the work and artists' statements as the wonderful examples of the power of art to inspire compassion and understanding that I did!