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Showing posts with label Collage. Show all posts
Showing posts with label Collage. Show all posts

Wednesday, July 18, 2018

INSPIRATION KITS LISTED IN THE SHOP...

I just listed 10 Inspiration kits in my Etsy Shop with a variety of themes.  These kits are perfect for card making, scrapbooking, collage, mixed media, junk journals, etc.  Each come with a wide variety of paper, images, embellishments, etc. to jump start your creative imagination!


Here is a peek at each kits contents:
Full Details can be seen in my Etsy Shop

THE BIRDS NEST KIT: SOLD

AD MEN KIT:

WILDFLOWER KIT: SOLD


ODE TO AUTUMN KIT:


THE THEATER KIT: SOLD

WOODLAND FRIENDS KIT: SOLD


FLOWERS KIT: SOLD

THE BUTTERFLY COLLECTOR KIT:

THE CHILDREN'S GARDEN KIT: SOLD

FOR THE BIRDS KIT: SOLD

Thanks for taking a look!
Blessings,
Sandy

Wednesday, January 13, 2016

"I ALWAYS PICKED HER WILDFLOWERS..."

"I always picked her wildflowers..."
(Photo Transparency, Collage, Acrylic Paint, Ink, Encaustic Medium)

Soon after we crossed the creek and just before we topped the rise of the hill where the farmhouse came into view I would shout out "STOP! Let me out here and tell her I did not come!"  I would slide out of the old Ford Falcon near the Horton's tipsy old mailbox and sit on a roadside rock listening to the tires pop and crunch over the old dirt and gravel road.  My signal to begin my surprise appearance being the sound of car doors slamming greetings being hollered to and fro from car to porch. I could hear her feigned disappointment at my not being present and I would grin. This was our game. I knew  that she knew that I was there anticipating my arrival as much as I anticipated seeing her.
(BEFORE, the above photo shows the collage and painting before adding the encaustic medium)

I would abandon my perch and slowly meander up the rest of the rise and around the curve secure that the aged stone wall and roadside bramble hid me from view.  I would study rocks for fossil shapes, listen to bird calls, think names of trees, weeds, and wildflowers just as she had taught me.  I zig-zagged across the road plucking wildflowers, grasses, weeds, and leaves all the while arranging them in a bouquet as I went. Sometimes I was lucky enough to find a feather to tuck in as a special adornment.
(DURING:  the above photo shows the very scary part of encaustics, covering up the collage with the wax.  Yikes was I nail nibbling here until the wax dried and cleared so I could see the final result.)

Once I had gathered a good sized bouquet I would trot up the road and slip behind the sweet gum tree at the edge of the yard to see if she had gone inside. With the coast clear, I would tiptoe across lawn and up the front steps crouching under the open window to listen for her voice. She would always say, "I sure wish Nay would have come."  With a gap toothed grin I would spring for the handle on the screen door, throw it open, and march in, hand behind my back and screech, "SURPRISE!"  "Bet you thought they left me in Little Rock didn't you Granny?"  She would grin back and say, "They gee! You did surprise me, I thought they left you at home!" 
(AFTER:  After a bit of scraping back and fusing I got the soft dream like memory effect I was after!)

On my way to bury myself in her embrace, where her cherry red apron would cradle my cheek and her feather soft kiss would brush the top of my hair, I would present her with my gift of hand picked wildflowers.  She never failed to ooh and ahh over them as together we placed them in a vase and set them on the kitchen table.  Our game never ceased, it carried over into adulthood where I would slide out of the car, sometimes accompanied by one or both of my children and we would pick her wildflowers as I told them the story of a long ago little girl who liked to trick her Granny.

I still pick her wildflowers, only now she views them from heaven.  I still put them on the kitchen table and before leaving the farm I leave them on her final resting place and I hope she knows that "Granny's Girl" has been there to surprise her.

Blessings,
Sandy

The encaustic piece featured in this post was inspired by this fond memory.  The photo transparency is one I took of the cattle gate at the farm where her Flowering Almond bushes bloom every spring.  Loving what I am learning from Ivy Newport in her Whimsical Portraits and Dreamy Landscapes online class!

Sunday, September 2, 2012

PART 3 SERIES COMPLETE: TIPS FOR TITLING YOUR ART WORK...

"By viewing nature,
Natures handmaid, art,
Makes mighty things,
From small beginnings grow..."
~Dryden - Annus Mirabilis~
(The above quote is used as text on this piece.)

 You might be wondering why you would need to title your artwork.  Many times you do see published works that are accredited to an artist but described as "untitled".  Titling your work makes it more memorable.  It leads the viewer to a suggestion of what you want the piece or pieces to say.  A title is a signifier, a thread, or an open door as a way for the viewer to approach the image and appreciate what the artist is trying to say. Titling your work is also important if you are presenting at a gallery, a show, in a publication, or when artwork is for sale.

For me, titles rarely ever come until the work is complete and I have had time to spend with the art looking at it and thinking about it.  It is kind of like writing a book, you always have a working title but often it changes once the book is brought to completion.
 (I used a contrast of hard and soft textures of metal and fiber to give this piece depth and dimension.)

Sources for titling your work are abundant from the actual materials you use to getting out a dictionary, thesaurus, a synonym finder, poetry phrases, lines of a quote, magazines, books, song titles or lyrics, anything that will connect to the image(s) of the body of work you are trying to title.  You want to seek out a title that supports your work, but that also challenges or engages the viewer.

Spend some time with your artwork once it is complete, look at it, study it, then ask yourself what you are trying to say or show through your piece.   Is there a hidden depth or meaning?  A message you wanted to covey?  Simplicity or beauty?   Is there a mood or feeling you you want it to express?
 (I like how this little egg sort of rolled right off the edge of the canvas.)

Find key words that tie your series together or express what your individual artwork is about and make a list of as many as you can think of.  Write down any ideas or impressions you get from viewing the finished work. Then, narrow the list down to a few descriptions that describe the focal point or message of your work.

Take a standpoint of a viewer of your work not as the creator.  Ask yourself what stands out the most or what draws you to the work the most.  Narrow your list even further by these descriptions.
 (I used same texture on texture and same technique on technique to add interest to this piece.)

You have to figure out what you want your work to convey even before someone looks at it.  What feeling or response do you want it to invoke in the viewer?  Narrow your list to the best of the best descriptions of your work.

TIP:  Alliteration (the repetition of a beginning sound) helps when titling, you want a title that flows off the tongue and creates strong imagery or emotion.

From your list you will be able to create a title for your artwork that is descriptive, meaningful, and sounds great.
(I also used a variety of hand dyed fabrics to enhance the design.)

TIP:  Invite someone else to view your finished work and monitor their response or ask them to make a list of their observations.

TIP:  You want to stay away from negative titles, such as "Rage".  Most people do not want to purchase or hang a negative titled work in their home or office.  You may well have been trying to express rage in your work but more than likely it will be a hindrance to a selling point.  Although there are a few select collectors who might want a negative piece for their collection.

Not all work will lend itself to a title and that is perfectly fine too.  Often there are series or individual works that are simply numbered and signed and that is perfectly acceptable also.
 
 (Piece three of the series complete!)

TIP:  You also want to stay away from a title that is too obscure or vague or has a meaning only to you that your viewer or potential customer will not readily recognize or relate to.

Now, I need to go and spend some time with my artwork, taking my own advice to titling this series.
 (The complete series hanging out in the studio)

 Do you have any tips for titling artwork?
Do you want to help me in that process?
Then leave me some ideas in the comments,
 I 'd love to hear them!

PART 1: Thoughts on Working in a Series can be found HERE
PART 2:Artistic Goal setting can be found HERE
  


Friday, August 31, 2012

PART 2 SERIES COMPLETE: ARTISTIC GOAL SETTING...

"The Spice-Tree lives in the garden green,
Beside it the fountain flows,
And a fair bird sits in the boughs between,
And sings his melodious woes.

That out bound stem has branches three,
On each a thousand blossoms grow,
And old as aught of time can be,
The roots stand firm in the rock below."
~The Spice-Tree, John Sterling~
(The quote at the top of the post appears on this work.)
 The majority of the time my creative process is pretty willy-nilly.  I don't set time constraints or limits to when I need to get projects finished unless they are for a specific deadline, hence the drawer in my studio filled with half baked works in progress.  Through working on this series I learned a really valuable lesson in setting artistic goals, keeping sight of them, and eventually meeting them.

I confess that at one point I got completely lost, not in a good way, during the creation process and it was a total road block.  I could not see the next step or figure out where I was going.  I found myself forcing ideas that did not feel right.  I stepped away from the series and began a small side project that helped me to clear my mind.  I had an "aha moment" when I asked myself exactly what my beginning goal(s) was when I started this project.  Once I had firmly defined that it was like a breath of fresh air that revived my creative spirit and took the pressure off.
 (I used lots of layers of paint to create depth and texture to the flat fabric surface.)

 My goal was to try and see if I had the staying power to complete a 3 piece 16x20 canvas series of work based on the same subject matter, using the same color palette, exploring fabric, paper, and paint techniques that incorporate stitch and typography.  My goal was not to create something that would be the next big thing or trend.  Nor was it my goal to create something that was for publication, presentation, or profit, although that might be a future goal.  This was supposed to be a simple exercise in finding, defining, and refining my artistic style.

This is what I learned:  A clearly defined set of artistic goals can and will help you to move forward with your work.  They are also, at least for me, a liberation or freedom to create within a set of perimeters that take a lot of guess work or angst out of the process.  In the absence of a clearly defined goal you can get lost in the execution.
(Paper, paint, wire, beads, and resin create unique leaf elements.)

TIP:  Work SMART(er) not harder!  Chris Brogan simplified goal setting by using the acronym SMART:

Specific: Be specific and straightforward about what your goal is, why you are pursuing this goal and what you hope to accomplish, as well as how you are going to do it.

Measurable: Choose your goal with measurable progress in mind, setting small goals for process steps during each phase of your artwork, this will ultimately lead you to achieve the large end goal you have set.  Measuring your progress helps you to stay on track.
 
 (This piece also contains a kiss of metal to contrast the hard and soft of the materials.)

Attainable: Don't set your goal too far out of your reach or you will lose heart and not commit to follow through.  It's kind of like saying you are going to lose 20 pounds in 7 days before your high school class reunion, it is not obtainable or even possible.  A goal needs to stretch you slightly so you feel you can do it.

Realistic:  This means "do-able."  A realistic project may push your creative skills and knowledge but it should not break you.  You want to set the goal high enough that you have to obtain it with some effort but not so difficult that it sets the stage for failure.  You want a healthy balance of satisfied achievement.

Timley:  You need to set a time frame for your goal.  Putting this end point to your project will give you a clear target to work towards.  Sometimes when we don't have a time limit the project tends to not happen because we get in the mentality of needing to be inspired to work, or there is no sense of urgency to start or take action,  or you begin to feel as if you can do this at any time.  Case in point: my drawer of unfinished works in progress!
(This background was woven with the intention of a vertical stripe pattern.)

I am a very strong starter but a not so strong finisher, these guidelines really helped me in setting clear, reasonable, and obtainable artist goals.

Confession number two:  This was not always a fun or enjoyable process, hence the emphasis on the "work" part of artwork!  I was just about out of mind by the time I got the weaving done for the third canvas.  I really truly seriously wanted to quit.  This opportunity to stretch myself was, "...dressed in overalls and looked like work!" (Thomas Edison quote)   Trust me, there were some melodious woes being sung during this process. 
 (Various hand stitches were also use to enhance this design.)

I also confess that this style of working, in a series with set goals and perimeters, was extremely hard for me.  It truly was an exercise is self-discipline that stretched me just enough that my "won't give up, won't give in spirit" kicked in and helped me bring this project to completion.  The end result brought about an immense sense of satisfaction and accomplishment, the reward was worth the effort.  I now know I can discipline myself to setting, executing, and accomplishing my artist goals one step at a time.
(Part two of the series complete!)
I am off to set my sights on a new goal.

Do you have a goal setting process to getting your artful dreams accomplished?
Do you have an tips or secrets to share?
I'd love to hear them!

PART 1: Thoughts on Working in a Series can be found HERE

Wednesday, August 29, 2012

PART 1 SERIES COMPLETE: THOUGHTS ON WORKING IN A SERIES...

"The wind comes creeping, it calls to me to come go exploring.  It sings of the things that are to be found under the leaves.  It whispers the dreams of the tall fir trees.  It does pipe the gentle song the forest sings on gray days.  I hear all the voices calling me.  I listen.  But I cannot go."
~ Opal Whiteley~
(The above quote is the text used on this piece)
When I set out to do what I thought would be a simple three piece series of artwork I had no idea of the depth of discovery I would make about myself or the art making process.  I thought I would share some of my thoughts, impressions, and frustrations along the way.  In a former post I described the "how to" of working in a series, over the next couple of posts I will be revealing each piece in the series individually and sharing what I hope are some helpful tips and thoughts on working in this manner.
(Stray fibers and scraps found new life as bird, egg, and nest)
Each piece of work you create was or is wrought from inspiration and inspiration can be be found anywhere.  This series was inspired by nature, one of my favorite subjects to mimic, thoughts of kindergarten, and my inability to waste something that would normally be tossed into the trash.  

The nature part of my series is obvious, a bird, branch, and an egg appear in each piece and is kind of self-explanatory upon viewing. 
 
 (A handmade "branch" with fiber "moss" supports the dimensional nest)

The background technique for each canvas was developed by both thoughts of kindergarten and some trash I was about to toss.  I am a notorious note taker and love to use colored legal pads.  I had scribbled several pages of no longer needed notes on a blue pad and was tired of flipping the pages to find clean paper.  I tore a hunk of used pages from the tablet and started to toss them but the color of the paper struck my eye as that of complimenting the artwork I was doing.  I used some paint to slightly obscure the writing.  This became a portion of the piecing for the background.

My little grandson has just started kindergarten and he called me to tell me all about his first day of school. I was instantly catapulted back to my first day of school where I remembered the teacher getting us ready for open house.  We were allowed to choose two colors of construction paper and taught to weave a mat that would sit on our desk where we would serve our parents cookies and kool-aid using our best manners.  The background technique was developed from the triggered memory of that little woven paper mat.
 (A bit of metallic lettering gives the piece an unexpected shine and interest.)

TIP:  Inspiration truly can be found anywhere.   When contemplating a series, work with a subject, thought, feeling, or idea that inspires you.  This will ensure that you will stay interested in the work and bring it to completion. 

Continuity of color is key when working in a series.  You do not want your work to look disjointed or too disconnected.  There is a lot more to color than meets the eye.  Color plays two roles in the creation of your artwork: description and composition.  The spectrum of color you use will set a cool or warm tone to your work.  Saturation of color can make your work look either vivid or soft.  
 (The torn edges and burnished edges of the hand painted background fabric gives the piece a rustic textural appeal.)

Color also affects your composition.  It can harmonize or contrast your series.  It unifies your work, sets a visual path, produces rhythm, and creates emphasis.  Strategic placement of color can draw the eye exactly where you want the viewer to be pulled in and have their interest piqued.
 
(Hand stitching adds additional texture and interest plus provides the appearance that the  fabric has been stitched onto the woven background.)

I chose the colors for my series based on nature to compliment the theme.  Blues to represent the heavens and greens to ground the sky to the earth.  Contrasts of hues in grays and browns, that mimic the tones of wood and stone, were highlighted with white and ivory to bring in a balance of  light.  I kept the tones of the paint complimentary to those in nature but with a softer more gentle palette wanting to evoke a peaceful feeling to each work.  

TIP:  Thoughtfully choose the colors you will work with to set the tone, mood, and feel of your work.  
 (Piece one of three complete!)

I hope you have enjoyed watching this series come to completion.  
Thank you all, as always, for all your support and encouragement along the way.
Have a wonderful day!

Part 2: Setting Artistic Goals can be found HERE
 Part 3: Tips for Titling Your Artwork can be found HERE

Monday, May 7, 2012

ART BOOK TEXT...

 Thank you all so very much for spending a few moments of your day here visiting.  I truly appreciate each and every one of you, without you my art and writing would not have blossomed as it has for you have been such a support and encouragement to me.  You have all become such cherished friends and our snippets of conversation via comments and emails are so precious to me.  Everyday I feel such a deep well of gratitude for this wonderful online community.  Thank you from the bottom of my heart for being such an amazing support system.

Thank you all for the wonderful support you expressed for my latest piece of art, Elements of Nature.  I had a few emails asking about the quotes of the text of the book, about the entirety of the text contained in the book, who the quotes were by, or if I would share the entire text.  I am the author of the text and although I do not consider myself quote worthy, the excerpts can be attributed to me.  The artwork was supposed to answer one or more questions that were posed in the open call.  I chose to answer the question as if my art book could speak telling what it would say.  
Here is the text in its entirety: 
INTRODUCTION
If I were to speak in the native tongue of man rather than in my natural visual form I would tell you of the passion behind the person who wrought me into being and how a peculiar trait in her rich and varied character remains to be noticed, for she is very good at hiding herself. Namely, that ardent and enthusiastic imagination which influences her whole course of creative thought. She possesses an appreciation of the magnificence of the large scale beauty of the natural world around her. 

She is poetical of temperament, which is discernible throughout all her writings and in all her artistic works. To her, words and art have a connection, much like the intertwined fingers of admirers holding hands. There is an emotion being expressed, a silent communication being conveyed; they are two separate entities linked together by touch, each made better by the other’s loving presence.

In me, you see many of her descriptions of the beauties of the wild land she loves to explore and discover. There is the enthusiasm with which she makes the connection between her faith and her art, creation and the created. In me, you see where past and present often collide under the touch of the story weaver that lives within her, for more often than not there is a hidden story to be read in her body of work. Her memories are key connections in her artistic process, every bit as much as her tactile experiences in nature.
 I extol the warmth of I the simmering summer sun.  Radiant heat, painting itself over exposed skin, pinking it to the lightest blush, expressing the memory of sweltering Southern summers spent in the strawberry patch, the taste of juicy warm berries cooling the tongue. 

The memory rises to the surface like light rays at the birthing of a new day.  Sometimes I am an artistic expression of a long ago memory.
 I express the purity of the atmosphere on full moonlit star studded nights. Shimmering wonder winking and blinking above, I conjure up canvas cots and light ration blankets lined up in a row, three wriggly lumps laying upon and under while breathlessly waiting to see who spots the first shooting star.  
  
The moonbeams lull them into stillness as the inky sky begins its show. The fragrance of the air is full of dew and sweetness as the moon waxes and wanes. At other times, I am the reflection of an impression imbedded in my maker’s sensory memory banks.
 I express the verdure of the forests that cover the hills and hollows of her home through both color and symbol. I speak of deep-down roots that tie her tightly to the land of her birth where conditions, like lush green kudzu, allowed her to spread out far and wide exploring and experiencing firsthand the marvels and sensations of nature where she spent hours and hours in rapt admiration observing, listening, feeling, thinking, and imagining.

The old Red Bud out back of her childhood home knew her best and kept her secrets hidden.  They were concealed in the little hollow space at its knobby root. It took them to its grave, but she well remembers the safety of its shelter.
  I express the intricacy and detail with which she likes to create.  It is with fragile care that she gently weaves strands of this and bits of that interlaced and knotted with words and images, which are often a visual representation of her thoughts and feelings.

Distinct and what often looks bewilderingly complex comes to her as second nature, like a spider spinning its web, and gives structure, substance, and depth to her work.

As a child she once observed an Argiope aurantia (Black and Yellow Garden Spider) carefully pattern its orb web. Its orange spinnerets casting out silken thread creating an amazing and complex zig-zag pattern down the center. This experience taught her to pay attention to detail.
 I express creative freedom and artistic adventure where the inception of new ideas are formed and begin being worked out.  This gives wings to flights of fancy for the sheer pleasure of finding out if it can be done.

Creative freedom is a gift carried over from childhood, from Miss Polly in day school who let her paint rather than nap and to her mother who bought crayons, paper, scissors, and glue to keep her only child occupied.

Credit also goes to the uncle who gave her a cool art kit every year for Christmas and the grandmothers who taught her domestic skills that enhance her art today.

Encouragement from the person who once told her she could paint, then bought her paints, brushes, and a how-to-book and to all the influential artists in the creative community, these are the things that have given her wings.
 I express the emerging artist who is slowing working her way out of her insulated cocoon and testing her new found wings. Her lack of formal art education has been a source of intimidation.

Her classroom has been life experience and the great out of doors. When once asked what she wanted to be when she grew up she said she has three choices in mind, an airline stewardess, a librarian, and an artist. The response of the adult was to tell her to stick to being a librarian it was safer.

She did not become a stewardess, she is well grounded and happy to experience the occasional flight of a pleasure trip, and she did not become a librarian and play it safe. Instead, she chose to become an artist who is just beginning to find her way in mixed media working towards developing her own signature style.
 Her adventuresome spirit has taken her from the height and grandeur of the mountains to the depths of the crystalline purity of running streams. 

Creator has spread all of creation before her and it is a glorious and golden world, everything tinged with its own unique texture, shape, size, and its own gorgeous hue. The natural world is her artist pallet of choice, her greatest influence, and her deepest joy. 

The entire art piece can be viewed HERE.  

My posting will be spotty at best this week and possibly next week.  My mother is not doing well right now and a lot of my time and energy has to be directed there.  We have a lot of appointments over the next week or so and I fear we are going to have to make some decisions as to her daily care which is about to break my heart.  I may not be able to visit or post as much over this short time period.

I wish you all the most beauty filled days showered with blessings!
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