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Posts Tagged ‘Fine artist Taylor Ikin’

Limberlost

In recent weeks I’ve been aiming for “big”, as in paintings to fit a 20″ x 24″ outside mat size and frame.  This is a stretch for me, and so far rather difficult to manage.  In fact I have only produced a handful of renderings which I am bothering to mat and frame.  All is not lost when big doesn’t work however;  I crop bits and pieces out of failed work and at least get something out of the deal.

Obviously the biggies will not go through my scanner.  Were someone to want a print of the large art, we’d have to let Office Max do the job, and that’s definitely a good option.  Featured above is one that did fit on the scanner—an 11″ x 14″ outside mat size which I have called “Limberlost” after a great book which I’m certain most readers will know.

Along with size, I’ve been experimenting with heavy weight paper—300 lb.  This supposedly doesn’t buckle when wet, but actually it does to a degree.  There will always be an unsightly bulge somewhere, and unlike the 140 lb. paper the heavier weight doesn’t flatten out nicely when dampened and placed in a paper towel and plastic mat “sandwich” loaded down with books.  So when I use up this order of 300 lb. paper, I’ll return to the 140.  Just had to try it.  I also ventured into new-to-me papers, but I still prefer Arches.  (Pronounced “Arsh”—it’s French.)  Again, I just had to try something different.

One of many things I’ve learned from books and DVDs is that every artist has his or her favorite paints, paper, and brushes.  These are personal choices—each with its own good features.  I like American Journey paints, available from CHEAP JOE’S.  Of the many artists whose work I’ve studied, only one—Taylor Ikin—recommends American Journey.  I also enjoy Da Vinci watercolors and gouache, and at present I know of no one else who uses them.  Winsor & Newton and Daniel Smith are excellent, and extremely popular.

Ahhh—BRUSHES.  Oddly enough I like, even love my paper and paints, but I’m crazy about brushes.  Of the many I’ve accumulated, a good assortment of Daniel Smith Aquarelles (Round and Flat), a couple of Isabey Kolinksy Round Sables, and some of the Jack Richeson Flat 9010 Signature Series rise like cream to the surface.  The 2″ Richeson Wash brush is so beautiful and precious, I’m tempted to line it up on our antique settee, along with my Teddy Bears.  Soon I’ll shop (online) for a Richeson 3″ wash brush (if there is one) to accommodate the large paper.

Even with painting nearly every day, I have never worn out a brush.  I coddle and care for them like they were babies— washing them gently in (my homemade) soap and warm water, and drying them with a soft towel.  Of course the brushes are stored brush end up, in clean jars.

The tools we use are special, regardless of the trade.  I know that every chef has his or her favorite pans, molds, egg whips, or whatever.  And every carpenter has a favorite hammer.  So I’m just a wee but daft about brushes!  I’m fairly certain that additional papers, paints, and brushes will make their way into the stash; we never know all there is to learn.  It’s all about growing and experimenting!

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.Beautiful Bouquet for Jamie

Recently our Denver son, Karl, visited us “back East”—in Wisconsin.  He spotted a painting I’d done for his sister, our daughter Debbie,  Rather than continuing to lose you readers in a string of our family connections, I’ll simply state that after seeing the painting, Karl said, “I’d like one like THAT.”

Wonderful!  So satisfying when someone likes your art, right?  But “one like THAT”—similar to, and in the time frame of, the above-pictured rendering–was done three years ago.  Now I’m trying to paint “one like THAT”, but I always come up with something different.

Maybe because of writing articles and stories for magazines and newspapers for decades, I’m sensitive to the ominous significance of plagiarism.  I have always been super cautious not to plagiarize someone else in my work.  Now that visual art has pushed my writing career to the background, I cannot even pick up a paintbrush and plagiarize myself!

Every individual who devotes huge chunks of time to art will attest to the fact that we change and grow.  I’m constantly exposing myself to different and new techniques and styles through books and DVDs.  When too weary at the end of a day to actually work in my studio (a card table in a corner of our bedroom), I immerse myself either in volumes of my beloved mid-to-late 19th century French artists or in the theories and works of present day water-media artists whom I find greatly inspiring:  Cheng-Khee Chee, Charles Reid, Barbara Nechis, Jean Haines, Shirley Trevena, Taylor Ikin, Clare Harrigan, and Karlyn Holman*, to name a few.

Although I never sit down at my art table with an open book or a DVD screen before me, I know that ideas for different approaches seep in through a kind of soul osmosis.  Constantly I enjoy delving and exploring fresh possibilities—even some that I’ve discovered on my own, such as mounding gouache on top of watercolors to achieve a textural effect resembling that of oil on canvas.

Hence I may never able to reproduce “one like THAT”.  But I’ll continue trying, and something will connect!  Scanned and emailed images of various new paintings are bombarding Karl, and when the right one appears on his computer screen he will reply, “Stop!  That’s it!”

One like THAT!

blue and old pottery 2

 

More Equinox

©Margaret L. Been, September 2014

*Many water-media artists tape their paper to a board before beginning to paint.  I prefer not to do this, as I enjoy tipping and wiggling my paper so that colors will run and form beautiful “cauliflowers”.  Some of the paper taping is done simply to prevent 140# cold press watercolor paper from buckling when wet.  Through her teaching, Karlyn Holman demonstrates the perfect solution for that—forever freeing artists for the need to tape their watercolor paper to a board.  Here is Karlyn’s wonderful trick.

Thoroughly wet the back of your finished painting.  Then make a sandwich:  a plastic placemat on a table or counter; clean paper toweling over the placemat; the painting face down on the paper toweling; another layer of paper toweling on top of the painting’s wet back; another layer of plastic placemat or whatever; and a large book, or several books, to weight down the sandwich.

Leave the sandwich overnight, and voila.  A perfectly flat painting.  If the watercolor paper is still damp, I repeat the sandwich process (omitting the wetting stage of course) until the painting is dry enough to mat.  COOL!  Thank you, Karlyn.  Wisconsin people are indeed brilliant!!!  🙂 )

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Boreal Twilight

It is the night before the night before Christmas—a time of great joy for our family (50 immediate family members counting children, grandchildren, great-grandchildren, husbands, wives, and significant others).  There are also friends whom we consider to be family—some who have been an integral part of our lives for decades, our children’s close friends among them.

Meanwhile, this is an art blog.  How I love sharing art talk with kindred readers!  I’ve been thinking big time about the people who have encouraged and instructed me in this late-in-life experience which has become an absolute passion and joy!

My family has been an incredible support, and they like to have some of “me” on their walls.  Joe smiles when the UPS drops packages at our patio door—brown boxes loaded with brushes, tubes of paint, and huge increments of paper.  At one time he said, “Don’t artists use the 3 primaries to get all their colors?”  My answer was “Yes, that can be done, but just look at what manufacturers have produced in recent decades.”  Joe got the point, which is pretty obvious when one views the two generous containers in my studio:  one overflowing with partially squeezed tubes, and the other abounding in delicious brand new tubes waiting their turn to get squeezed.

The support of those whom I consider to be “real artists”, has been an amazing surprise and blessing at every turn.  By real artists I mean exactly that.  These are the individuals who were often drawing and painting as children—just as I was always writing a poem or an essay.  They are professional in every sense of the world—whether in teaching or selling (and frequently they are doing both).

As a fumbling, embarrassed beginner (not that long ago—it was 2006) I never dreamed of getting encouragement from artists who know what they are doing.  But I soon discovered that collectively artists are actually the most out-going, supportive people on earth—creative souls who love nothing more than to share their passion while inspiring others to experiment and grow.

Most painters (and this is probably true in other visual art disciplines) realize that each of us is one of a kind.  We learn from each other, however each person’s work will have a signature which is unique.  There is art for all people, at all levels.  I certainly know the difference between the four to six digit paintings which hang in the most discerning of galleries, and my own art which may be displayed and very occasionally sold at an Art Walk on the sidewalks of our small neighborhood community.  I am contented, and tremendously happy to be a part of the entire scene!

I owe more than words can say to a friend, fine artist in pastels, and encouraging teacher in the gorgeous Wisconsin Northwoods—Diana Randolph.  I attended two of Diana’s workshops held at a school a couple of hours from our Northern home—one a drawing class and the other an introduction to those beautiful buttery, silky pastels.

Drawing was (and I admit still is) my very weakest thing (I can’t call it a skill)!  This is a sobering admission since the reading of Art History reveals that down through the ages drawing has been the very basis of art.  Years were spent, simply drawing.  Pre-Raphaelite English fine artist and critic John Ruskin believed that color should only be introduced after an intense discipline of drawing-drawing-drawing.  Sorry, John.  I simply couldn’t go there, and my heart does not leap at the sight of a pencil or charcoal stick.

But COLOR!  There I was immediately hooked/grabbed/enamored/and fulfilled—body and soul.  To add color!  Well I had been doing that in decorating my home and body nearly forever.  Why not add color to paper or canvas?  Diana’s pastels got me so excited that I ordered high quality soft and hard sticks, the right surface, the sandpaper, the solvent to smear in strategic spots, the whole bit—only to discover that pastel dust did nothing worthwhile for my tetchy breathing apparatus.

Realizing that pastels were out, I deduced that oils would also be a problem for this confirmed asthmatic.  So what was my logical medium for COLOR?  Water/water/water and wonderful 37ml tubes of watercolor.  (Winsor & Newton, Da Vinci, and American Journey all come in these large tubes.  I also love some Daniel Smith colors which are available in smaller sizes.)

Diana Randolph is the only “real life” teacher I’ve worked with.  But a long time friend, fine artist Jan Roberts, has also been a constant source of inspiration.  Jan works in most every medium, and I have three of her magnificent oils hanging in our home.

My bookshelves groan with contemporary watercolorists who have shared through their books.  I have studied via books and DVDs—reading and viewing over and over and then some.  Each of these artists is unique, and they have varying views on many aspects of what to do, and how.  All of them encourage beginners, and acknowledge that they once were novices as well.  (Maybe when they were three years old! )

Book and DVD studies are also refreshing and freeing!  I respond to some techniques and am not so crazy about others.  This, perhaps, is the birth of an artist’s voice—compounded from much exposure from books, films, and actual galleries whenever possible!  A person can never learn it all, and knowing that I am a student, forever growing, thrills me right down to my toes!

Here is my list of surrogate teachers in watercolor painting:  Americans—Charles Reid, Cheng-Khee CHEE, Barbara Nechis, Karlyn Holman (Wisconsin proudly claims Karlyn!), and Taylor Ikin (the “YUPO Queen”); Canadians—Karin Huehold and Linda Kemp; and British—Shirley Trevena and Jean Haines.  These are amazing teachers who differ in many ways—their main similarity being the creation of fantastically beautiful work.  Due to the marvels of technology, I have received email encouragement from some of these artists.  The profusion of encouragement never fails to remind me of Hans Christian Andersen’s THE UGLY DUCKLING.  I realize that I’m not quite a “swan”, but the swans have really made me feel like I belong—and this is a beautiful feeling!

Currently, I’m enjoying practicing a method from UK fine artist Jean Haines’ DVD, AMAZING WAYS WITH WATERCOLOR.  Jean begins some of her paintings with a single spot on the paper, and letting the subject reveal itself from that spot by streaking lots of color and water in a diagonal.  Jean stresses the need to let each stage dry completely, and to enjoy the beauty of each stage—the color fusions and the way a subject will evolve for future development.

Jean demonstrates painting cockerels (of course that’s UK for roosters).  She loves cockerels and so do I having raised numerous fancy breeds of cockerels (I think I’ll call them that!), hens, and chicks for eighteen years on our little funny farm in Eagle, Wisconsin.  So I have been experimenting, and here is one of my studies—called “Overdressed for the Occasion”.

Overdressed for the Occasion 2

It will undoubtedly take many more “bloggings” to share the countless ideas I’ve incorporated from books and DVDs.  I hope to do that in 2014.  But this blog entry has grown so long, I wonder if anyone will make it to the finish.

Nevertheless, I don’t want to edit a single word of thanks to all of my teachers, and to you readers.  You mean so much to me!!!  🙂  Merry Christmas!!!

Margaret L. Been, December 2013

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Even though I will always consider myself a student and a “beginning artist”, my favorite books by artists are not the beginner’s “how to” books.  These are generic in content, and they often infer that there is “one way” to do art.  The basic and necessary info on how to run a wash, dry brush vs. wet on dry or wet on wet, plus the properties and characteristics of various paints, papers, and brushes, constitute only a few pages in any book—and those instructions may be found online, involving the printing out of perhaps 2 or 3 sheets of paper.  The basics do not warrant the price of purchasing an entire book, if that book is limited in scope.

Most of the material in a beginner’s “how to” book demonstrates how that particular author/artist puts a painting together, as if his or her method were set in stone.  The most typical approach is to draw a picture with a pencil, and then paint in the picture.  While I have never been claustrophobic in elevators or caves, I confess to wanting to scream and run when I look inside a “how to” book that stresses some sort of method of painting within lines.*  The line technique may produce a predictable look, but that look is simply not my heart’s desire.  For me it would be about as creative and individualistic as messing around with a “paint by number” kit.  The only way I can negotiate lines is to draw them for starters, and then ignore them by painting over (and outside) them!

The art books I love are in a special class by themselves.  They are deeply readable with profound insights on which to chew, and I read them over and over and over every single week of my life.  Rather than feeling trapped, I want to be challenged and recharged—eager to explore more, experiment more, try more, dream and imagine more, and push out any preconceived walls that might threaten to enclose me.   

The “how to” book presents recipes, and of course recipes have their place—especially in baking, where chemistry is involved.  But a thought provoking art book will progress beyond recipes, into the infinitely exciting and challenging world of ideas.  The “how to” art book will show you how to paint like someone else, but a meaty art book will encourage you to paint like you!

In an earlier post I mentioned WATERCOLOR FROM THE HEART—by fine artist, Barbara Nechis.  This book details the author’s philosophy of art, her sources of inspiration, and many samples of her exquisite paintings along with a description of different techniques she employs—with the idea of inspiring other artists to experiment and venture into their own uncharted territory:  in essence, to find that personal “voice”.  So helpful is this book to me, that I wish I could personally thank its author for the exilarating sense of freedom I derive from reading it.

Another treasure in my art library is A PASSION FOR WATERCOLOR—Painting the Inner Experience, by Stefan Draughon.  Like WATERCOLOR FROM THE HEART, Stefan Draughon’s book delineates her journey in finding her own way and discovering her very own art. 

Finally ABSTRACT AND COLOUR TECHNIQUES IN PAINTING, by Clare Harrigan is a gem which I read again and again.  Don’t be fooled by the word “techniques” in the book’s title.  The word far exceeds “how to”; rather it explores many dimensions of seeing, understanding, and expressing in terms of a variety of media—ultimately leading to the discovery of personal “techniques” which may or may not be considered, according to the reader’s choice. 

These favorite books along with DVDs—DANCING WITH YUPO DVD by Taylor Ikin, and WATERCOLOR FROM WITHIN by Barbara Nechis—comprise my ongoing Art Study Program.  More resources may be added as I find them, along with inspiring biographies of well known artists from the past.

I know that basics are important.  We need to learn the rudiments in order to develop skill—in art, and most everything else in life.  Techniques are worth studying.  But we should never be in bondage to someone else’s idea of what works in art.  That’s where reading way beyond the beginner’s “how to” book is essential.  Each artist is unique, every means of expression is individual, and every style is personal.  My reading must augment all that is in me to produce work which is totally my own—unique, individual, and personal—so that I can continue to derive tremendous soul satisfaction from making art! 

Margaret L. Been, ©2012

*I believe that most every child has an innate art spirit.  But teachers and parents who instruct eager children to paint or color within the lines compromise one of the greatest deterrents to human creativity. 

I know people who absolutely WILL NOT pick up a paint brush simply because they were scolded as youngsters, for “going out of the lines”.  Due to negative feedback in early years, these adults are bunged up and terrified to try anything which is not prescribed, dictated, or specifically outlined with “how to” instructions from another person.  The bunged up person has never known the joy of escaping from a potentially soul-destructive box!

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