Roz Wound Up

What To Do with A Partially Filled Journal (Not Quite a Superstition)

Above: This image has almost nothing to do with today's topic, except that I have decided to leave the rest of the page BLANK! My choice. Pentel Pocket Brush Pen Sketch with Stabilo Tones used wet, then dry. This is a page from my current journal which I made with Winsor and Newton 90 lb. hot press watercolor paper. The background was prepainted with Golden Fluid Acrylics, with portions masked off with masking tape. The fortune from a dinner cookie was also pre-applied before I reached this page and reads, "The star of riches will shine on you beginning next month." We have wild turkeys on my cycling route and I used notes, sketches, and some reference photos made on this fall's rides for this "thumbnail sketch" which will probably turn into a large acrylic painting. Click on the image to view an enlargement.

I labeled this post "not quite a superstition" because I have written about working chronologically in your journals and leaving blanks in other "superstition" posts. But after I posted Journaling Superstitions #12—Art Papers Are Only for Painting, I received a number of notes from people who have lots of journals that are only partially filled. This post had hit a nerve as to why those journals weren't filled. In writing to these people it struck me I should say something to all the blog readers about this: It's OK to have a partially filled journal.

Another Weirdo Journal

Left: Page spread from the next weirdo journal (3.5 x 8 inches approx.). A sketch of a pear using Stabilo Tones. I have scanned this narrow book with the covers visible so you can see the decorative paper on those covers: decorative paper I made with metallic acrylic paints. Click on the image to view an enlargement.

After I finished my last weirdo journal things didn't "normalize." I elected to work in a very oddly shaped journal, 3.5 x 8 inches, that I had made in 2001 as a class sample. (The goal of the class was to make two books: a larger 8-inch square book and then this smaller book with scraps.)

The paper used in this book was the original Folio paper I love so much. Of course I didn't want this book to sit idly on the shelf, even if it did have an odd aspect. Also, lugging the weirdo journal around became quite a trial at the end as it got heavier and heavier with more collage material—and it was never a light volume to begin with. A small, light book seemed just the solution.

And it was, in a way the solution—less neck stress because of a lighter pack. In another way it was a challenge as the page spread was so narrow that placing a point of interest so it didn't fall in the gutter or so the rest of the subject didn't disappear off the side of the page became an interesting game, not always successfully played. Such was my reaction to the book that I whipped through the 54 pages (left after I'd cut pages out to leave room for collage material) in 10 days and sighed audibly when I closed the book finally.

I'm glad I worked in this book because the paper is too yummy to pass by, but I'm also glad I was able to work through it quickly and return to my preferred size 8 x 8 inches or so. I'll post more pages from the journal as time goes by. Meanwhile I'm left to ponder how to refer to such "oddities" I recently dubbed weirdo journals, in a transitional time (and when isn't one in a transitional time?). Especially when weirdo is definitely the norm and not weird at all.

Sketching and Collage—just 'cause

Above: a page spread from my "weirdo journal" which I've been posting about the past few weeks. Read more about the sketching and collage below. Click on the image to view an enlargement.

If you viewed my short video of this journal when I was just starting it, you will have seen this page partially completed. Here's what happened in the building of this page:

MCBA Visual Journal Collective: Update on the October Meeting

Above: another look at what's going on in the weirdo journal. Pentel Pocket Brush Pen on Magnani Annigoni Designo paper with Stabilo Tone for color. (Go to the category list and click and scan through "Colored Pencils" to see additional posts on using Stabilo Tones and similar watersoluble crayon products.) Click on the image to view an enlargement.

Last Monday we held the October meeting of the MCBA Visual Journal Collective. Twenty three visual journal keepers showed up to exchange thoughts on various tools they use in their visual journals. I wanted to share the suggestions here because many people can't attend the meetings and while some art materials may be familiar to all of us it always surprises me how many times I whip out my Niji waterbrush and someone says, "Wow, I didn't know they made such a thing."

Clare talked about her favorite pens: Faber-Castel Pitt Artist's Brush Pens. She loves to use several different colors. Other members are also smitten with these pens and use them for sketching with watercolor. The pens are waterproof and you can wash over the lines almost immediately, with your watercolors. They are great for writing bold lettering as well. Now they come in larger sizes too (I mentioned this in an earlier post) which make an even bolder brush mark. So you might want to think about adding one or two of these (or several) to your drawing kit.

My First Day of Not Posting!

That's right, I'm not posting today. It had to happen one day, after all that daily posting.

It just wasn't happening on its own (as Jon pointed out the other day in a comment— "By the way you're still posting every day. Not that I'm complaining or anything."). I had to take matters in hand and actively not-post.

That's what this is. Get it? Why are you still here? Go work in your journal. I mean it. That's all I have to not-say to you today.

Oh, and this worried dog at the left is a Stabilo Tone sketch I made while watching Cesar Milan the other night. (Made in an 8-1/4 x 11.5 inch soft-covered Kunst and Papier drawing paper journal I keep in the TV room for such happy ocassions.)

Why aren't you sketching in your journal yet?

More Unfinshed Business with Backgrounds

Above: White Guinea Fowl sketch using Stabilo Tones on a prepainted and stamped background. Click on the image to view an enlargement.

On September 12 I posted this pre-painted background and I know several people wanted to see what became of it, hence today's post. I'm not entirely happy with this sketch for a couple reasons. I didn't have enough reference sketches to get the angle I wanted. But I also started with a pencil sketch instead of my usual brush pen—I wanted to experiment. I find it actually more difficult to cover the graphite lines, which blur and smudge under the Stabilo Tone, than to hide the bold ink lines of the Pentel Pocket Brush Pen. (See for instance this post where I start with a brush pen sketch and then work with Stabilo Tones.)

I did have one handicap while working on this image—I mention it as a warning to those of you who try to work with Stabilo Tones (or other brands of watersoluble oil pastels or crayons)—I had been working with the Stabilo Tones so much over the previous few days that I actually got a blister on one of my fingertips from blending! Consequently I wasn't doing much blending in the above sketch, I evidently have one finger dedicated to blending.

Experiments teach us a lot of things: make more preliminary sketches and PACE yourself!

If you would like to read more posts about how I use Stabilo Tones click on "colored pencils" and "instructions" in the category list and scroll down to find several examples. Stabilo Tones are a lot of fun, even if you have to deal with a blister now and then. I have the same problem when I work with Caran d'Ache NeoColor IIs: I just can't control my enthusiasm. But it's good to have fun and get messy.

Backgrounds and What Goes on Top—Another View

Above: I couldn’t sleep on Thursday night so I threw a couple sheep photos from the Fair up on my computer screen and sketched using a Pentel Pocket Brush Pen (most of the lines are now obscured) and Stabilo Tones. This journal has pages of Hahnemühle Gutenberg. Click on the image to view an enlargement.

I don’t have a before image of the background only for this page, but I think you can clearly see what was there. It was a completely painted background (I used acrylic inks). Next I took a silver Brilliance ink pad, and rubbed it on the right and left edges of the paper, over a torn mask so there is a soft wavy demarcation. It is most clearly seen at the left of the page spread, working its way up next to the ewe’s face. When the stamp ink was dry I did some outlining with a purple Faber-Castell Pitt Artist Brush Pen. Next I added a bit of collaged foil paper and a fortune. The last was totally covered by the ewe’s nose, and I didn’t write down what it said before I covered it—something about trying a bunch of things before settling and stability?!

The Sullen Hen: This Time a Border

Above: As the text on the page says, a very sullen hen. Shown here because I wanted to make a comment about making borders on pages. Stabilo Tone over a Pentel Pocket Brush Pen Sketch. 13 x 8 inches on Gutenberg paper. Note there is a vertical line near the gutter on the verso page. This is an "impression" from a page tab on the previous spread. When you blend this stuff around with your finger the pressure is going to create interesting artifacts from the previous spreads. It's not very noticeable in person because of the way the eye compensates for glare. Click on the image to view an enlargement.

Working ahead in my journal I created this border with a flat brush and a round brush. I used Flame Orange FW Acrylic ink to make the orange lines and let them dry. I added some strokes with the round brush using Indian Yellow FW Acrylic Ink. When everything was dry I used Turquoise FW Acrylic Ink to make the dots. Then I left the page alone until I worked up to it in my journal.

I was anxious to work some more with the Stabilo Tones so I did a quick sketch of a chicken head referring to some State Fair sketches. In hindsight I think I would have preferred the minimalism of the black ink sketch with the border. But I'm a firm believer in pushing things to see how they work out.

If you're new to the blog check out my Thursday and Friday posts for additional information on how I use these pencils. Also checking the "colored pencil" category will turn up several more posts on this medium, as I wrote about it this summer at some length.

Calling all Minnesota Artists: Minneapolis Institute of Arts Foot in the Door Show

Above: journal sketch using Stabilo Tones on page spread of Gutenberg Paper (13 x 8 inches approx.). This isn't related to today's post, it's just a continuation of my on-going discussion of Stabilo Tones. This started as a quick gesture sketch of a bird too small to see clearly, made with the Pentel Pocket Brush Pen. Then Stabilo Tones were applied. I started sketching at the head and when I finished my brush pen sketch I knew the head was too small so I enlarged it. The Stabilo Tones cover the first head's lines. See yesterday's post for more details on how I use these soluble wax pencils. Click on the image to view an enlargement.

My friend and indefatigable artist Mimi Holmes sent me a notice about this upcoming show. If you're in Minnesota—do it, have some fun, exhibit in the MIA.

Tip from Mimi—What I learned last time: there are a lot less sculptural works; and, making it smaller than 12 x 12" for a 2-D piece allows it to show up better on the wall.   Have fun!

Here's the information:

Calling all Minnesota Artists!
Minnesota Artists Exhibition Program (MAEP)
Opening Reception: Thursday Feb 18, 2010

Foot in the Door is an open exhibition for all Minnesota artists, which takes place every ten years at the Minneapolis Institute of Arts. Since 1980, Foot in the Door has celebrated the diversity and enthusiasm of Minnesota's visual arts community. Submit your work and be part of the state's largest art exhibition.

Who Qualifies: Anyone living in Minnesota who considers him or herself and artist. Limit one (1) artwork per artist.
What Qualifies: Any visual media that can fit completely into a 12-inch square box. Check the MAEP website for more information about A/V submissions.

Art drop-off and registration
Thursday, Feb. 4: 10:30 am–4:30 pm
Friday, Feb 5: 10:30 am–4:30 pm
Saturday, Feb 6: 10:30 am–4:30 pm
Sunday, Feb 7: 11:30 am–4:30 pm

For details and registration information, visit the MAEP website.

Backgrounds and What Goes on Top

Left: A mixed-media page spread (the journal is turned so the head and tail of the book are at the right and left, making the image 8 x 13 inches). Read below for more details about this spread. Click on the image to view an enlargement. When you do you'll also be able to see the lovely texture of the Gutenberg paper.

I’ve been showing you backgrounds I’ve made while I’ve been recovering from a nasty summer cold. Today I’ve posted a spread with background decoration that was actually used for journaling already. It represents the return of my ability to concentrate, a happy day.

Here’s a Breakdown of What I Did
1. I started this page spread with flat brush strokes of Turquoise FW Acrylic ink around all the edges. Then I took a soft sumi brush and trailed Indigo FW Acrylic ink through the still wet strokes. And while things were still wet I spritzed everything with clean water to spread color even more. I let it sit for a couple weeks because I had a cold and because I wasn’t on this page spread yet.