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Archive for the ‘The Fun of Being Unconventional!’ Category

Heading Home for Good.jpg

I doubt there is any middle ground with Yupo paper.  One either loves it or hates it.  The “haters” are those artists who demand control of their paints, and always work with an unflappable agenda in mind.  These folks create beautiful works of abject realism, and often artists of palpable realism are highly trained and amazingly gifted—especially if they achieve high end realism in watercolors.  Everyone knows that chasing watercolors is a bit like herding cats.

I am neither highly trained nor amazingly gifted, and fortunately the art I love the most does not fall in the category of abject realism.  My favorite artists, the French Impressionists, Post Impressionists, Les Fauves, etc. who worked largely in oils were realistic to a degree, but always with an intensely personal voice.  For anything other than “personal voice” I would use a camera—and for me, that wouldn’t be half as much fun as getting out the Yupo and letting the paints fly hither and thither.

Last week my good friend and fellow artist, Vikki, and I shared an art day at our dining room table.  We began on Yupo.  My rendering was, for starters, terribly generic and dreadfully similar to stacks of other paintings I’ve done:  tree – space – tree – space;  leaves and blossoms on tree – space – etc; and plomp – plomp – plomp – ad nauseum.

Now I detest—and desire to always eschew—the plagiarizing of any thing or any person, including myself.  So that night I looked over this Yupo thingy, almost upchucked, sprayed it with my trusty water bottle, pressed plastic clingy food wrap onto the entire surface, and went to bed.

The next day I removed the cling film and VOILÀ!  Something I could further develop and live with:  the suggestion of a Viking ship* with sails, and lots of turbulence all over the place.  So much better than plomp – plomp – plomp!

I added delineation and definition via gouache to the vessel and its surrounding sky and water—leaving a plethora of confusion, color, and turbulence in the sails as if the depicted journey was, like many of life’s journeys, fraught with distractions, dead-ends, and disasters.

However I am always a positive-note person, so then I named the piece:  “Heading for Home the Last Time”—reflecting my blessed assurance in a glorious destination through it all, and eternal joy in the presence of my Lord Jesus.

Margaret L. Been, May 2017

*Because this painting is matted and framed to 12″ x 16″, it was too large to entirely fit in my scanner.  Thus the ends of the ship do not completely show on the print.  The original in its full size is more representative of an actual Viking ship.  Since my husband is descended from Vikings, and loves ships, I wanted to be somewhat realistic.  🙂

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Another DVD I watch and absorb again and again is Taylor Ikin’s DANCING WITH YUPO.  This Florida-based fine artist’s (1 hour, 58 minute) tutorial has probably done as much, if not more, to free me up and send me painting on my way—as any other resource in my sizeable home library of books and DVDs.

The huge secret (but not REALLY a secret!) is Taylor Ikin’s use of YUPO® paper, which is actually not paper but rather a shiny washable plastic–coupled with her method of always standing and moving around* while working, and using totally-generous, extra-humungous amounts of paint mainly applied with a 2″ or larger square brush.

In her DVD Taylor Ikin depicts a downhill stream tumbling over rocks, with a forest in the background and lots of wild growth along the banks.  Taylor begins by spritzing the sheet of YUPO with her spray bottle of water, and applying thick brush loads of rich undiluted colors for woods, water, foliage, rocks, and botanical stuff along the forest floor and riverbanks.

Taylor slosh/slosh/sloshes with brilliant, juicy straight-from-the-tube watercolors abundantly slathered on her brush which has been dipped in a commodious bucket of water.  (I normally use marinara sauce jars large enough to accommodate my 4″ wash brush, and a gallon ice cream pail for my water supply—the pail for rinsing and letting the pigments settle on the bottom, and one or two of the glass jars for fresh clean water.)

Then with her clean wet brush, Taylor begins to delineate water from land, while creating chunky textural tree shapes in the background.  Next, the forest foliage and groundcover evolve.  With YUPO, this is super easy, as any swipe of a brush or paper towel brings the wet painting surface back to its original white and ready for more action.  (When the paint is dry, a wet brush or wet paper towel will restore the white.  And if unhappy with any stage of the process on YUPO, one may hold the piece under a gushing faucet or float it in a bathtub of water.)

When Taylor feels her initial rendering is satisfactory, she recommends letting the painting dry**, perhaps even overnight.  When dry, the work is ready for tweaking and fine-tuning:  as Taylor puts it, deciding “What will make this a better painting.”  Now is the time-consuming stage of lifting, re-applying the shapes in a different way, making new shapes, removing colors, adding new colors, standing and looking at the work from a distance, holding the painting sideways/upside down/and in a large mirror, etc.  (I sometimes tweak and fine-tune for hours over a period of days, or even a couple of weeks.  My YUPO paintings usually consume more time than those on Arches 140# rag paper, because the YUPOs provide flexibility and so many more options.)

I have read books and watched tutorials by other YUPO artists, and quite frankly I have not warmed up to their work.  Excellently crafted, but simply not what I would want to hang on my walls.  But Taylor Ikin’s work has that magical quality to which I am inexorably drawn. Try GOOGLING her, and maybe you will be drawn as well.

YUPO is the perfect ground for the abstract realism style that I love.  It is perhaps the easiest surface for beginning painters to use because (unless you desire to create detailed, representational art that resembles a photograph) YUPO is encouragingly NO-FAIL  Every blob and drip of paint that blends with other drips and blobs will be beautiful.  A few quick blasts of diverse colors on wet YUPO are often “suitable for framing”.  But when more painstaking hours are invested, the rewards are even more incredibly satisfying.

One can play forever, with just one sheet of YUPO, painting and rinsing off the paint, experimenting with colors and brushstrokes.  Or finger strokes.  I have rediscovered the joy of finger painting, due to the fact that I have long hair and lots of it.  Frequently I spy a wisp of my hair in a work in progress. I dislike hair in a painting almost as much as I hate to find it in my food!  In the process of removing a hair with my pinky, gorgeous swirls will surface on YUPO.

Texture is easily achieved on YUPO—either by the application of modeling paste to make mountains, rocks, and tree trunks, or by dribbling texture medium onto the painted surface.  Salt and cling film (plastic food wrap) build texture as well.

The acrylic inks are vibrant on YUPO paper.  Another favorite technique is the slathering of gouache over water-colored areas.  The gouache may be built up impasto, to fashion floral still lifes or wild landscapes, while looking amazingly like oil paint.  I always spray my finished YUPO paintings with an acrylic fixative; this not only prevents smudging and smearing paint forever, but the fixative makes a lovely shine (although matt fixatives may be used if so desired).  Also, the acrylic spray will prevent the impasto gouache areas from flaking.

Thank you, Taylor Ikin, for your continual inspiration from DANCING WITH YUPO!  I have always loved to dance!  🙂  Here is a fresh off-the-messy-palette YUPO piece by moi.  It is titled “Irides”.  I can’t stop painting irides.  Although I’m certainly not to be compared with Monet (YIKES!) that master and I do have something in common:  repetition of a beloved subject.  Monet did haystacks and water lilies among other topics.  I do irides, along with woods, mountains, etc.  What a good life!

more-irides

Margaret L Been — February 25th, 2017

*Standing and moving around are the way to go, for me, as I have chronic orthopedic pain for which constant movement is the best medicine.  The pain ramps up greatly at night when I am lying in bed.  Rather than lie there and hurt (that would be STUPID!) I get up and move around our home—yes and sometimes dance, to the waltzes of Erik Satie as well as WITH YUPO.  🙂

**I am not a fan of drying paintings with a hair dryer, and rarely do this.  But once I tried it on a YUPO piece.  Not good!  Too much heat, too close to the painting ground and voilà—shriveled-up art.

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Here is another British watercolorist who inspires me again and again through her books and DVDs.  Ann Blockley creates unforgettable, unique scenes which are, in her words unlike the “candy box scenes” we are accustomed to seeing.  Rather they are imaginative, and deeply personal—inspired by sights, sounds, and fragrances of familiar places around Ann’s home in the Cotswolds.

While demonstrating techniques for using watercolor in tandem with India ink, water soluble crayons and ink sticks, salt, plastic wrap, texture and granulating mediums (employed with a relaxed realization that the tools and techniques may decide their own path on paper, different from that which the artist has foreseen) Ann has challenged me not only to experience nature with all my senses, but also to take a deeper look at my photo books and computer files of favorite places I have lived:  to let the essence of these scenes penetrate my mind and heart, with the goal of more effectively expressing beloved places in my art.

The photos recall a lifetime of favorite places including:  my small-town Wisconsin  childhood home with a quiet stream at the base of our apple orchard; the Wisconsin Northwoods and waters where we vacationed when our children were young and where Joe and I lived full time for eight years beginning in 2001; my “home away from home”, Colorado where I spent a year at school, where Joe and I lived during his stint at Ft. Carson, and where we have visited many times since; more western vacation areas—Northern New Mexico and the farthest NW corner of Washington State; and our present home in Wisconsin’s Southeastern  Lake District:  a pleasant blend of small communities northwest of Milwaukee with lakes, rivers, woods, and a few remaining farms.

I will never live long enough to even begin capturing on paper the abundance of beauty which has underscored and punctuated my 83 years.  But I’m making a start, greatly motivated by the work and encouragement of UK artist Ann Blockley.  Here are a few of many scenes which I’m studying with a mind to painting—not with photographic accuracy but rather in response to their essence, in the coming year:

my-childhood-river

my-prairie

goldenrod

autumn-bog

DIGITAL CAMERA

under-our-windows

river-bank

gorgeous-clouds

Margaret L. Been — 1/22/17

NOTE:  If you GOOGLE Ann Blockley’s website, you are in for a TREAT!  MLB

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under

far-out

No, I haven’t been lazy since the last entry.  But most recent renderings have been too large to put through my scanner—like 16″ x 20″ and 20″ x 24″.  Large paintings can be photographed, but that never works for me as well as a scan.

Featured above are a couple of little guys that I’ve sandwiched in between the biggies.  In the top painting, the watery effect was achieved with thinned white gouache drifted randomly over the rocks.  The second painting was experimental, with lots of goopy gesso topped with acrylic bead gel.  When the gesso and gel were thoroughly dry, paint was added to drizzle and drip on the textured ground.

Meanwhile, I currently have a hole in my head.  Maybe that’s not so funny as it sounds, but HEY!  Let’s laugh.  Arthritis is the creator of a one centimeter gap, causing (GOOGLE this one!) a diagnosis of Atlanto Axial Instability.  In plain talk, I’m a BOBBLEHEAD—the treatment of which, at this stage and perhaps in lieu of surgery, is a very fashionable neck/head brace fitted for me at our local Hanger Clinic.

The pleasant young man who fitted the brace commented that I have a long neck.  Then he chuckled when I shared that my maiden name is “Longenecker”.  I doubt very much that he caught the double entendre cached in my name; he is too young.  Had he fully grasped the joke, his chuckle might have been a guffaw.  Moreover, unless you readers have connections with the 1930s and 40s you may not realize that once upon a time the word “neck” was a verb as well as a noun—with “necking” being an active, enjoyable present participle!  🙂

Grammar and vintage fun aside, my brace is downright elegant.  With a red tint in my hair, I look something like Queen Elizabeth the First.  So what in the world does this stream of consciousness wandering have to do with art?  Namely, this:  for years I’ve painted standing up, with my head bending over a waist high table.  Now that I’m de-bobbled by a neck brace, this position is no longer comfortable.  When the head falls forward and down, I feel more like Elizabeth the First’s motherthe Unfortunate Anne.

I refuse to stop painting, so what to do?  Joe and I cuddled on the couch with my I-Pad, and scrolled down pages of standing easels.  Unanimously we concluded that spending an arm and a leg just to accommodate my compromised head would be stupid.

Then suddenly a light went on in said head:  my sturdy, adjustable music stand.  Although my violin retired from active duty years ago, the music stand has continually served in the capacity of displaying art.  Now the music stand has morphed into a standing easel.

Voila!  There’s always a way to make minor adjustments—even major ones when needed.  Life is GOOD!  🙂

music-stand

Margaret L. Been — November 20th, 2016

NOTE:  Happy Thanksgiving!

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rollicking-autumn

At one point the above rendering looked exceedingly dark and dreary:  blues, greens, and browns—nice colors but in need of some life.  As I often do, I thought of the late artist, Thomas Kincade.*  In one of his books, he shared that his favorite part of every painting was at the very end, when he added the light.

Now recalling Kincade’s work, I think what he had in mind was a subtle, airbrushed glow of light and not the Van Gogh-ish streaks you see here.  But light is light.  With all due respect to Kincade who obviously was extremely gifted, I really love Van Gogh—and inexperienced as I am, it shows.  So streaks of light transformed this work from a dreary rainy day in late summer to rollicking autumn.  And that’s what I’ve named the piece:  Rollicking Autumn.

Margaret L. Been — 9/14/16

*I believe that Thomas Kincade was a tremendously sensitive man with a huge soul.  His tragic end stands in contrast to the content of his art—which, although not the kind of thing I like to hang on my walls, is quietly soothing and nostalgic.  His life was a sobering testimony to the travesty of fame and success á là Hollywood with all its phony glitz and deceptive glamour.

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Another another.jpg

And still more

I did a bunch of blood moons which are now stashed away on my recycle pile, and finally came up with these two.  The bottom one of the above is my favorite.  I was unable to work in the red sky (which was across the entire eastern horizon that night) and still have the moon pop out prominently.

A lot of artists recommend doing a series of renderings of any subject that strikes us as unforgettable.  That is obviously what has been going on here continually, considering the wall-to-wall garden paintings in my storage closet as well as on our walls!  Now the moons are hanging in our dining area to add some contrast.

Meanwhile, my Joe has encouraged me to set up another studio at our dining room table.  Currently gallerywrap canvasses, and acrylic paints and brushes are dominating the dining table annex—with bins of collage papers, fabrics, and random odds and ends stored under the table.  Fortunately there is still room for dining at one end.  🙂

Margaret L. Been — July 11, 2016

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