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Posts Tagged ‘Arches 140 lb Cold press Paper’

Ex 4

Ex 2

Ex 3

EX 1.jpg

Years ago I giggled when I heard of art instructors telling workshop participants:  “The paper is talking.  Listen to the paper!”  But now, in my eleventh year of art-making and experimenting with different watercolor grounds, I no longer giggle.  Paper talks!  Paper says different things about the paints and techniques applied.  For a fun demonstration of this fact, I did an almost identical landscape on the above four papers using identical techniques, with a slight variation in my DaVinci artist grade* colors.

First, I applied clear water to a wide horizontal strip at the top, and a smaller swath on the bottom—leaving a dry streak between the wetted areas.  Then the top wetted strips were washed with blends of phalo and French ultramarine blues—and the sky areas were sprinkled with Kosher salt.  Avoiding the dry parts, I added color to the dampened below sections:  red, green, gold, and a bit of blue—while, as always, letting the paints mingle on the papers rather than on my palette.  On each piece, I pressed plastic food wrap onto the bottom area while the paint was still wet.

The papers represented are, from top to bottom:  1) Yupo paper with its especially unique voice, particularly in the way it talks back to applications of plastic wrap; Numbers 2) and 3) 140lb sketching pad paper—American Journey available online at CHEAP JOE’S, and Canson available at many chain craft stores; and 4) Arches 140lb cold press paper by the sheet, available at online art stores (and neighborhood fine art stores, if you have one.)  (Arches is pronounced “Arshe”.  Remember it’s French, and I may scream if you pronounce it like those golden thing-a-ma-jiggies on the MacDonald’s fast food signs!)

Yupo has no tooth whatsoever; rather it has a shiny, slippery surface so it will always make it’s own statement, without even trying to imitate.  You may notice a smoothness because of a lack of tooth on the 2 middle papers as well:  the sketch pad papers.  Also, note that on the 2nd of the smooth-surfaced sketch pad papers the food wrap film caused the paint to slide up and nearly obscure the strip which I had left white and dry.

The Arches 140lb cold press displays more texture around the salt, and somewhat more under the plastic film, due to the presence of tooth.  And on the Arches sample there is a charming bit of “cauliflowering” where wet paint has oozed into the dry area, also caused by tooth.

(Cauliflowers will normally be very prominent on paintings where wet colors collide on Arches 140lb cold press and comparable fine papers—especially when freshly painted strokes touch not-yet-dry parts.  Traditional watercolorists will practically do headstands to avoid cauliflowers, while I perform similar gymnastics just to make sure that I create and preserve them!  “Different strokes for different folks!”)

Different papers have different stories to tell.  By listening (LOOKING!) you can begin to ascertain what more you might want to add or change to complete the work, or do alternatively on another kind of paper.  In the above cases, done mainly for the purpose of illustrating variations in papers, I have done nothing more to any of the samples.

Margaret L. Been —  April, 2017

*My husband and I are blessed with many great-grandchildren.  (Dare I brag?  Well, I’m going to:  we are blessed with 18 of them—so far!)  Frequently, we have art days at our dining room table; what a delight!  Although I sometimes let the very young children slosh around on the economical sketch pad 140lb papers before launching into the high quality “Arshe” sheets which I nearly always use for my own finished work, I am terribly fussy about 2 aspects of art for all ages:  good brushes and artist grade paints.  No matter how young the beginner, good quality brushes and paints are essential.  Poor quality yields disappointing results, and the potential future joy in a pastime of art-making is not to jeopardized:  not at my table!!!

And that’s no April Fool!

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quarry-and-mossflower

In recent months I have read mainly documentaries, political commentary, and eschatological tomes.  Very riveting and educational.  But I’d all but forgotten how much fun it is to read for FUN!  One should never forget that!

A deal via Amazon set me back on track:  The first 20 novels of Brian Jacques’ REDWALL series.  There are 2 more, which I hope to find another time.  I had read 4 or 5 of these years ago, and never realized there were 22 in the entire series.

I began by re-reading the first book, REDWALL.  Again I was captivated, enthralled, and totally charmed.  The characterizations, the cliff hanging plot which never gets boring, the hilarious satire—I love these books.  As a child, all my favorite fiction featured “talking animals”.  Some things don’t change!

What I’d forgotten about the REDWALL BOOKS, and am so delighted to recall, is Brian Jacques’ writing: packed with visual imagery.  The scenes literally come alive on the stage in my head!  The language is just plain painterly.  Maybe that has hit me more bombastically than it did when I read these books back in the 90s because then I was not yet into making my own visual art.  Playing with paints has opened the big wide world, and especially the world of the arts, to proportions of which I’d never dreamed possible.

I finished the first book late last evening, and couldn’t sleep because I was so inspired to paint what I hope will be a series of renderings to reflect the REDWALL novels.  Above is the first painting:  THE QUARRY AND MOSSFLOWER WOOD.

Margaret L. Been — November 26th, 2016

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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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Argyl.JPG

Now and then I get the above question—always in response to that rare effort with which I’m really happy.

Some of my paintings are okay (no more than that), and some are (in my opinion) frame-able.  But occasionally (once in a red moon?) something happens that actually delights my heart.  Like this one which I have titled “Recalling Argyll”.

In this case, along with other paintings which have evoked the “How did you do that?” query,  I had to answer an interested friend with my standard reply:  “I honestly don’t know!”

What I do know is that I nearly pitched the thing in my wastebasket.  It went through several yucky stages, compounded by the fact that I had nothing whatsoever in my mind when I began painting.  Often that works beautifully, especially with transparent watercolors on YUPO paper which happily does its own thing and produces surprising results when you keep your paintbrush in check or use it lightly.

But in the above case, the transparency got buried too quickly in layers of gouache.  Gouache is my ever-ready friend, but here I let it get overly friendly.  In lieu of simply pitching the work, I decided to just let it alone so the mess of gouache could dry properly—no easy task in our famous Southeastern Wisconsin summer humidity.

Several days later, I revisited the mess and gave it one last fling—this time globs of white gouache blotched randomly to cover up the muddiest layers of the original paint.  And instantly the scene popped out at me:  Argyll.

Back in 1993, Joe and I rented a car and drove (actually Joe did all the driving since it was on “the other side of the road”) 2200 miles–mostly on back roads in Scotland, England, and Wales.  I was raising sheep here in Wisconsin at the time, for wool for my hand spinning and because I love animals—even the silliest of varieties.  So we had planned ahead to stay at sheep farms on this trip of a lifetime.

We landed at Glasgow, and spent our first two days and nights on a farm in Argyll—a  familiar household name in my childhood home.  My Grandma Kate was a Campbell* and pointed proudly back to some 11th century Duke of Argyll.

How did I do this painting?  If I can think up a more helpful answer in addition to the explanation of ruining a painting with piles of gouache and then blotching it up with white paint, I’ll let you know.”  🙂

But maybe Argyll popped up because in 1993 I felt a deep down sense of belonging there, either due to the 11th century Duke or simply because Argyll is a poignantly beautiful part of the world.

Margaret L. Been —August 3rd, 2016 

*If you read Scottish history, you will discover that the Campbells behaved atrociously to the Mac Donalds—something I would hope will stay buried in the past.  Anyway, here is my peaceful finale:  They came to the USA, where the Campbells made soup and the Mac Donalds made hamburgers.

(Do I hear groans?)

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Blood Moon 1

Two nights ago, around 12:30 a.m., I woke up and as I often do in summer, wandered into our living room to open the patio door and step out to enjoy our nocturnal garden and courtyard.  I was “stun-gunned” by the sight that greeted me:  a blood red moon rising in a bluish purple and red sky, over the wildlife preserve to the east beyond our park.  I should have run for the camera, but—to employ a corny fictional expression—I stood transfixed.

The red moon was not fiction.  In the sky, traces of distant lightning flashed.  Minutes later the lightning moved in close, followed by gentle thunder and a steady, quiet rain which lasted until dawn.  Meanwhile, I went back to bed, thinking the red color had something to do with the stormy atmosphere—not surprising given our infamous SE Wisconsin summer humidity.  The previous day had been a scorcher.

The next day I couldn’t get that mysterious and almost eerie scene out of my mind, and I began trying to capture the experience of that sky at my paint table.  Above is my first attempt.  As I worked, I recalled reading in the Bible about blood moons.  Joel 2:31 states:  “The sun shall be turned to darkness, and the moon into blood, before the coming of the great and awesome day of the Lord.”

Some preachers have connected recent blood moons with immediate fulfillment of the End Times prophecy.  But many diligent Bible scholars agree that this concept does not hold water.  In his 2014-published book, BLOOD MOON RISING, Mark Hitchcock wrote:  “. . . don’t get caught up or carried away in any speculation about some great cataclysmic event in 2015 surrounding the appearance of the blood moons.”

Obviously we are now after the fact of 2015, and although filled with plenty of global tragedy 2015 was very sadly just like many other years—unless you call the appearance of Donald Trump in the political circus a “great cataclysmic event”.  (He may think he is exactly that, but I for one do not.)

Regardless, the sight of a blood moon was a rare privilege which I’ve never before experienced, and may never enjoy again.  I did a bit of GOOGLING on the subject, and see that the June, 2016 phenomenon has something to do with the full moon occurring around summer solstice.  Not being a scientist, I can’t divulge any more than that from what I read—except that the Algonquin Indians called the June full moon the “Strawberry Moon”, not due to color but rather for the obvious reason of ripening strawberries.  That was an understandable and enjoyable bit of information.

Actually the June moon I witnessed did look something like a huge strawberry.  My subsequent attempts to improve the above “start” of a painting are even worse than the first, and I now wish I’d quit while I was ahead.  Here are Blood Moons 2 and 3:

Blood Moon 2

Blood Moon 3

Pretty awful.  I should have known not to round out the moon and create variety in the sky with (of all things) yellow and blue paint.  Those colors on top of the red turned the sky a yucky brown.  Duh!  Yellow and blue make green, and green plus red equals brown!  My great grandkids know that, because I demonstrated it for them.

I’ll keep working on this, and if not satisfied I’ll simply begin again.  Maybe I’ll let it all dry, and then try remedying the mess by adding water soluble oils.  Artist Barbara Nechis shares that she always finishes a painting, even when she knows it isn’t going well.  She finds that working on a perceived failure gives her the freedom to attack it wholeheartedly—and sometimes the results are surprisingly acceptable.  Barbara encourages her readers (and DVD viewers) by adding “It’s only a piece of paper”.   🙂

So I will continue messing about with my piece of paper, or I’ll start a new one of the blood moon.  If I come up with something frame-able, I’ll post it on this blog.  But please do not hold your breathe.  If you never see this effort again, we’ll move on to something else—maybe more flowers.

Wise artist, Barbara Nechis has also said, “When we try to compete with nature, nature always wins.”

Margaret L. Been, June 27th, 2016

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