Roz Wound Up

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.

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.

My Last Sketches at the 2009 Minnesota State Fair

Above: Quick sketch of a sheep using a Pentel Pocket Brush Pen. 9 x 7 inches, Fabriano Artistico 300 lb. hot press watercolor paper. That’s my admission ticket which I stuck on at home. Click on the image to view an enlargement.

As I pack my 2009 Minnesota State Fair journal cards away, to await the construction of a portfolio, I have two more cards I’d like to share with you—more on "the taking a break to revive yourself theme," which I mentioned earlier when showing my break and after cards from my two other Fair visits. (First day break, second day break.)

But Wait, There’s More…Some State Fair Oddities

Above: Sketches of a Turken from my third trip to the 2009 Minnesota State Fair. This is a chicken (ken) bred to look like a Turkey (Tur), hence the very odd naked neck. The more you look at them the more appealing they become, in an odd way. They have a lovely body structure and a startling flame orange eye. Here are two quick sketches made as this one moved about in his crate (comb accurate on the left). 9 x 7 inches, Fabriano Artistico 300 lb. hot press watercolor paper; Faber-Castell Albrecht Dürer Watercolor pencils used dry. Click on the image to view an enlargement.

"You wanted cows; well here you are…"
An exhausted mother gesturing to the entirety of the cow barn as she entered with her 7-year-old son. (A note on the back of one of my cards as I was walking out of the cow barn.)

So the other day, I was catching up on my scanning and finally finished scanning the 12 cards I made on my final visit to the 2009 Minnesota State Fair. I woke up that morning with what I feared was the beginning of a cold. If I was right, there’d be no way I could make my Sunday trip. I decided to skip my workout, save my energy, and see what happened. I kept in mind that this was probably my last trip this year, so I was on a bit of a mission.

While We Are on the Topic of Backgrounds…

Above: journal page spread where rubberstamped text forms the background. Click on the image to view an enlargement, and read below for more details.

I'm still fighting a cold and suffering from Fair Withdrawal. I am aching to sketch something, anything, including two not-too-attractive pears (I like pears with a little more variety and oddness to their shapes) that were on standby for Dick's lunches. So I flipped over the page in my journal and the next spread was covered with pre-stamped text. (The text is actually a line out of an article I read a couple weeks ago. "This insistence on open endings and on feelings." I had stamped it, running right off the edges of the page spread, with a large stamp typeface and Brilliance stamp pad inks, which have a nice metallic quality.)

I picked up a Faber-Castel Pitt Artists Brush pen that is a sort of periwinkle blue and started sketching the two pears I'd put on my desk. I was sitting on my foot-rest close to the floor. (Yes some of the handwritten text at the bottom of the verso page has been obliterated in the scan.)

Then I started scribbling with my Stabilo Tones to add color to the pears, their shadows, and the table top. The thing I love about Stabilo Tones is that you can scribble, then wet the lines and move the paint around, and finally blend with you finger.

If you want to read more about Stabilo Tones go to this post, and then read several of the posts which follow it. I was on a Stabilo Tone kick at the end of the summer. Just like me to love a dead medium. You could have similar fun with Caran d'Ache NeoColor II—which are also wax and watersoluble.

The blending with your finger is the real joy here—especially when you are fighting a cold and dying to sketch something (and there's no puppy in the house).

So next time a cold has you trapped in the house with nothing but produce, cover a journal page spread with text for the background and start to paint over it. Don't worry about the finished product. Just be sure to pick a medium that is tactile and fun, because the process will perk you up, even if the chicken soup isn't working.

Beginning Colored Pencil Class in Minneapolis

Above: Old English Blue Rooster, colored pencil, approx. 13.5 x 9.5 inches. Click on the image to view and enlargement.

This October and November I’ll be teaching a six-session Beginning Colored Pencil Class. This is the perfect opportunity for any artist eager to work with this art medium to establish sound working techniques regardless of artistic style.

This is an intensive 6-week class with both in-class and homework exercises that will build your skills.  Students will focus on subjects of their choice (buildings, animals, flowers, portraits, still life arrangements) while learning the techniques of color layering and blending needed to create sketches and finished illustrations in this medium. Students will keep a notebook of extensive exercises which will become a valuable reference tool. Assignments will focus on adapting mastered techniques to find a personal style and create a collection of finished illustrations.

During class students will experiment with a variety of drawing surfaces including toned surfaces (paper and watercolor backgrounds). We will also discuss the various color pencil brands currently available and their relative merits and qualities.

All skill levels are welcome in this class, but for maximum learning of the new material basic drawing skills are recommended. (I'm sorry this class is not available as an online class.)

Class Dates: October 5, October 12, October 26, November 2, November 9, and November 30, 2009.
Class Time: 7 to 9 p.m.
Location: Class will be held in a rented studio at MCBA, 1011 Washington Ave. S., in Minneapolis. (Note: this class is not offered through MCBA. Please contact me directly for registration and details about this class.)
Tuition: $200.00

If you would like to be part of this class please email me at roz@tcinternet.net with the subject line “Beginning Colored Pencil.” I will send you complete details and a supply list.

I look forward to hearing from you and helping you explore this art medium.

 

When Things Don’t Go Your Way: Sketching Animals (at the Fair, or Anywhere)

Above: Chicken sketches made during the Minnesota State Fair Sketch Out. I started with the sketch at the left but when that chicken became totally frantic over what was happening in the next crate I moved on down the line. On the right I did a quick sketch of a large rooster to get a feel for the shape and proportions. I then took some notes and left space for my admissions ticket—which I glued in place that night. Faber-Castell Albrecht Dürer Watercolor Pencils used dry on 9 x 7 inch piece of Fabriano Artistico 300 lb. HP watercolor paper. Click on the image to view an enlargement.

One of the exciting things about sketching animals, whether or not you’re at the Fair or a Zoo or at home or at a dog park, is that animals do the unexpected.

You can let this frustrate you and end your sketching session, or you can keep working and learn something. You all know which I favor.

I want to encourage you all to give in to the moment and really look at the animal before you, hear and smell its breath (unless it is of the large predator variety and then get the hell out of there) and settle into its rhythms.

Don’t try to sketch right away. Watch. Watch. Watch. Then when you do start to sketch you’ll have a sense of how the animal is moving. I've written about sketching at zoos where the animals often follow a pattern of movement. This allows you to start several sketches in rotation on your page, and work on each for a few seconds as the animal passes that position again. In enclosed spaces like barns or animal pens animals will also repeat positions and behaviors in a smaller area.

Using Watersoluble Colored Pencils for Quick Backgrounds

Above: my last morning sketch from the Sketch Out—made just before our first group meeting. Faber-Castell Albrecht Dürer Watercolor Pencils used dry and wet on a 9 x 7 inch card of Fabriano Artistico 300 lb. HP Watercolor paper. Notes written with a Staedtler Pigment Liner 0.3. Click on the image to view an enlargement.

One great advantage of watersoluble colored pencils over wax-based colored pencils is the way you can use the first to create watercolor washes throughout your drawing. You can dissolve the lines of your sketch and blend colors together as you would with watercolor paint. Or you can leave your lines only partially dissolved for additional texture to your sketch/painting. Or you can simply leave them dry, as originally applied, with the same sort of visual effect you would get using wax-based pencils.

If you have a large area to cover and no time you can also lay in a background of blended color much more quickly with these pencils than with wax-based ones.

In this post I have three examples all made on the Sketch Out trip to this year’s State Fair. For each sketch I simply drew the animal I was observing. Then I scribbled in a background of colored lines, typically using two or three analogous colors in a random order across the background (placing darker colors where I wanted more contrast, but no more thought than that to the placement).