Roz Wound Up

How To Make a Lot of Books in a Small Amount of Time: The May 2012 MCBA Visual Journal Collective

Above: Most of the participants (some people ducked out early to avoid parking tickets at their lapsed parking meters) from the May 21, 2012 meeting, holding up their completed books. Click on the image to view an enlargement.

We maybe didn't qualify for the Guiness World Record for number of people making a book at one time on Monday, but the 30 people people who attended the May meeting made short work of their Japanese Double Pamphlets. 

Strathmore graciously sent us sheets of their Strathmore 500 Series Mixed Media Paper so that we could make books and test out the paper for journaling. Each participant brought cover paper pre-cut following directions I'd posted earlier.

Right: We used every available flat space to work on, and some quick thinking participants spied collapsible tables and set them up around the presses giving us four more work stations. Click on the image to view an enlargement.

People who read my blog know I fell in love with this paper when it came out in the Strathmore wirebound mixed media journals in 2010. I begged to have full sheets available so that I could bind my own books out of it. I am excited to be able to introduce other artists to this paper. (You can search for entries on the blog about this paper by using my search engine and looking for "Strathmore 500 Series Mixed Media Paper.")

As you see in the photo we used every available flat space in the flexi-space of MCBA. 

Left: Some of the instruction sheets I taped to the walls so that people could look up if they got lost and I was busy helping someone else. Click on the image to view an enlargement.

After my paper tearing demonstration eleven people started tearing their paper down to pages sometimes referring to the instructions I'd written on large sheets of paper and taped all around the room, sometimes asking me for assistance. When one person finished another took the available spot. When everyone had completed the sheet tearing we moved on to folding pages, gathering signatures, folding covers, and sewing.

Left: Here we see part of the group working on the sewing of their books. Click on the image to view an enlargement.

Since it's inevitable that people in a group this large are going to work at different speeds there was a little bit of time before everyone finished sewing when I asked Karen Engelbretson to share her latest Japanese Double Pamphlet adventures with us. 

Left: Karen Engelbretson shows one of the pages spreads from her Florida Trip journal made as a Japanese Double Pamphlet with Arches Text Wove (Arches Velin) for the text pages. Click on the image to view an enlargement.

Karen's letterpress company Kiss Letterpress has recently come out with a delightful series of dayplanners that are made as Japanese Double Pamphlets. And even more recently Karen returned from a trip to Florida with friends, during which trip she filled her trip journal which was also a Japanese Double Pamphlet.

Left: I don't have a photo of the books we made on Monday, but these Japanese Double Pamphlets made with Arches Text Wove give you an idea of the structure. See the back left book. Looking down into the book you can see the central pleat of the cover which falls between the signatures. The book is sewn as a single unit, the two signatures and cover, at once. Click on the image to view an enlargement.

Our books ended up being approximately 7.75 x 5.75 inches. Some people brought cover paper wide enough to fold in at the fore edges to make flaps, others trimmed their covers after the sewing, so that there was only a slight overhang at the fore edge.

Right: Suzanne Hughes brought a lovely cover strip of Arches Cover which she had previously painted with her paste paper techniques. Her cover flaps were not yet folded in when I took this picture—I was attracted to the lovely blues and greens of her design. Click on the image to view an enlargement.

I want to thank everyone for jumping right in with a can-do attitude regardless of skill level. Everyone came with a great sense of humor. People stepped in to help each other and we got the job done! We even finished before our 2-hour meeting time was up!

Thanks to Marsha and Janice for helping everyone sign in while I set up the room (with help from a very tall woman whose name I'm sorry I can't remember—but she kept me from falling off a table!)

I want to thank Strathmore again for their generous gift of paper which made this free bookbinding session possible.

I cannot wait until everyone returns to future meetings with filled books! I don't think anyone really understands how insanely happy this makes me. Thank you all for making it a very fun evening. Next year maybe we should go for the record. We already have a system down!

Making a Cover for Tomorrow's Book at the MCBA Visual Journal Collective

Left: Diagram for cutting coverstock for your cover. Click on the image to view an enlargement.

A couple people have been confused by the written instructions for cutting covers for the Japanese double pamphlet we'll be making tomorrow in the MCBA Visual Journal Collective.

Here is a diagram that will help you understand how the grain direction needs to run on your cover. 

You can cut your strip so that it is at least 18 inches wide and then when the book is contructed you'll trim the fore edges to the size of your final width. Or you can cut your strip to the larger width shown in the diagram (27.5 inches) and when the book is constructed you'll fold the fore edges in for flaps.

Your decision in part will be based on the grain direction of the paper that you are using for your cover stock. (See the bottom portion of the diagram for an example.)

Hope that helps you. See the MCBA Visual Journal Collective PAGE (list of pages is in the left column of this blog) for the written description. 

I'll see everyone who signed up for the meeting at 7 p.m. tomorrow (Monday). Please note that the meeting sign up is now closed.

For People Attending the MCBA Visual Journal Collective on Monday, May 21, 2012

When my friend Karen Engelbretson heard how many people were going to attend the meeting on Monday she urged me to I suggest people watch my video on Tearing Paper before attending the meeting.

I think that is a fabulous suggestion. Make some time to do that. It will take you 11 minutes!

Even if you already know how to tear paper the video will give you an awareness of how I handle paper and the "fussy" bits you have to watch out for when tearing paper for bookbinding in this way. 

You'll still get to see me demonstrate in person at the meeting, but a camera over my shoulder in the video is going to be a much better view for you than even that.

You might even follow along with the video and tear up a couple sheets of regular bond paper or an old newspaper before Monday, as practice before you get to your sheet of art paper! Not only will you be practicing a physical skill which improves with practice, but you'll get a sense of where you have difficulties. You'll be able to ask more specific questions about the difficulties you encounter.

Thank you Karen for this great suggestion. I knew that video would come in handy!

Because of the large number of attendees on Monday I would also like to reiterate the need to come early and be prepared to search for parking (always a problem on the best of days). If you can meet a friend at his/her home or work and carpool over that might be a good thing too.

I will be coming from another event and can't control my arrival like I usually do, so I'm thinking I might have to park in a local ramp—keep that as an option for yourself. 

I am excited to rally together with all of you and make some books! It's going to be great fun.

MCBA Visual Journal Collective—May Meeting IMPORTANT REMINDER

For our May 21, 2012 MCBA Visual Journal Collective meeting we'll be making a small book with some Strathmore paper.

I have completed the supplies list. I am putting it here because I hope that everyone attending will see it. You can also view it on the MCBA Visual Journal Collective Page that can be found under Pages in the left column of this blog.

There are still a couple spots left if you would like to sign up. Please contact me immediately at rozjournalrat@gmail.com

Thread and text paper will be provided.

Participants will need to bring the following:

•a piece of pre-cut decorative paper. Cut your cover paper so that it is 18 inches wide x 5-13/16 inches tall [with the grain] if you don't want flaps at the fore edge front and back. If you want flaps at the fore edge front and back you need a cover strip that is at least 27-1/2 inches wide and 5-13/16 inches tall [with the grain]; that means the grain of the paper should be running parallel to the 5-13/16 inch height of your strip. (See below tools list for cover paper recommendations.)

•a bone folder (we will have some on hand but if we get a large turn out…)

•a bookbinding needle (ditto that we have some on hand but…)

•a ruler and a pencil (ditto)

•an awl

•a scissor 

•a triangle (if you have one you might find this useful, but it's not essential)  

PLEASE ARRIVE FOR THE 7 p.m. meeting with your cover paper PRE-CUT! 

Cover Paper Recommendations:
You want a flexible cover stock such as Canson Mi Tientes. Since the grain runs long in CMT you'll only be able to use it if you don't care about having flaps (i.e., want an 18 inch strip).

90 lb. Watercolor paper that you've prepainted is a nice selection. Many watercolor sheets run with the grain long (30 inch side) which means you will only be able to get a 22 inch strip of width out of that sheet so that your grain is going with your 5-13/16 inch height. Before cutting your watercolor paper be sure that it isn't grain short. (See my page on Tearing Fabriano Watercolor Paper—the grain direction of which was changed. There is a diagram.)

You can use 140 lb. watercolor paper but it tends to be stiffer and a bit thick for the small booksize that we are making. I do not recommend Arches watercolor paper because it tends to crack when it is folded, even with the grain, and even at the 90 lb. weight.

Other types of papers you can look at are Bugra, Fabriano Ingres, Fabriano Tiziano, Canford Cardstock, Artagain. Wet Paint carries a line of large cover weight papers in the Windsong line (I think that's what it's called, they'll be able to tell you if you ask). 

You can also use Tyvek or fabric if you like.

If you use fabric I recommend that you use two pieces of lightweight cotton fused together with some sort of fusing product. Trim it to the size you desire (flaps or no flaps) and then finish the head and tail edges (the top and bottom when your strip is in landscape orientation) with a zigzag or satin stitch per your usual desires. The edges at the front and back fore edge of the book you can finish when you return home that night and know how wide you really want your covers to be. (You can't finish the head and tail edges once the book is constructed.)

Recommendation added 5.15.12: Before attending the meeting I suggest that you watch my video on Tearing Paper. My friend, Karen Engelbretson, when she heard how many people were going to be there, recommended this. I think it's an excellent idea. You'll still get to see me demonstrate in person on Monday, but you'll also already have a sense of what is going on.

Suzanne Hughes and Her Accordion Books at the MCBA Visual Journal Collective; And A Peek in Some of the Member's Journals in April 2012

Above: Artist Suzanne Hughes at the April meeting showing her Moly_Xchange journal. Click on the image to view an enlargement. The first spread is her artwork setting up her night time theme. Then every two pages following is by an artist in her exchange group. 

April16 Suzanne Hughes spoke about her experiences in the Moly_Xchange Project as well as her own experiments as an art teacher creating an exchange with her students.

Suzanne had on hand two other journals from her Moly_Xchange. You can read more about the exchange and see other examples by looking at Suzanne's post. (You will also find details about her upcoming class at that post.)

The basic idea of the Moly_Xchange is that you build a group of artists. Suzanne explained this can be a time consuming process of reading the related blogs and asking to join in groups. Only then do you start exchanging a Moleskine accordion book. Each artist sets a theme for his or her book and as it travels via post from artist to artist each works on an addition to that theme. Suzanne explained that it took over a year to get a group together—but she persisted and has been enjoying the experience—with one exception…

Above: Suzanne holds open the music-themed journal of one of the member's in her exchange. Click on the image to view an enlargement.

…Suzanne explained that she does not like the paper in the Moleskine accordion books at all. She isn't alone in this as you can find complaints about this paper on blogs across the internet. But it is a vital complaint for Suzanne because she enjoys making her own books and using paper that "works." Also her perferred method of working is with pen and watercolor. She brought along samples showing how watercolor beaded up inconsistently on the pages of an accordion Moleskine (the paper isn't even uniform across its surface).

Many artists in the Moly_Xchange use acrylic paints and fair better. Markers seem to be the medium best suited to these commercially made books.

Suzanne has now settled into the exchange and found work arounds with the paper (and sometimes just greater acceptance). She loves the group that she's in and they have started a second rotation to fill the rest of the pages in their respective books. She recommends that people interested in participating in the Moly_Xchange be persistent.

When working on her art for the Moly_Xchange Suzanne roughs out an idea on bond paper, refines her composition and design, and tests her painting technique in a small accordion she uses just for testing (she transfers a small portion of her sketch to that accordion). When she is satisfied that her plan will work she transfers her refined sketch onto the Moleskine page and then paints. 

Because of her enjoyable experience with the artists in her group Suzanne sought ways to bring some of this experience into her art classes (she teaches high school art). She made journals for her students based on the Moleskine "model" but covered with brightly painted paper. For her students she created books that were approximately 4 x 6 inches. 

The students exchanged their journals on a Monday which meant they always had the week and one weekend to complete a page spread in another student's book. While not all of the students were consistent in their effort (and peer critique sessions which focused on the positive helped students improve) all the books survived the exchange and several of the students are continuing the exchange as they take off for college!

Above: Suzanne shows one of her spring sketchbooks that is in the accordion style. This one focuses on flowers and has a page structure made of Rives BFK which allows her to work in pen and ink. This book is approximately 7 inches square. Click on the image to view an enlargement.

Suzanne has enjoyed the accordion form so much that she has started making slightly more square-ish books on this model for herself.

For her own journal work Suzanne works directly, sketching mostly in pen and then applying watercolor (she doesn't use the preplanning method she uses in her exchange).

For the March Metro Sketchers outing Suzanne brought one of her accordion sketchbooks made with Canson Edition paper (she was testing it for her students) and worked in it throughout the afternoon—completing the book. She loves working on the continuous strip of paper, letting spreads meld into each other.

Starting on May 6 Suzanne will teach a multipart bookbinding and journaling class. You'll build the structure on the first Sunday and then meet for 5 additional Thursday evenings to explore journaling techniques and participate in an exchange. Check out the course listing on MCBA's class page. Scroll down to May and look for "Hardcover Accordion Visual Journal: Collaborative Chain Journaling."

After Suzanne's presentation and a question and answer period other members of the Collective shared current journal pages with the group. (I shared the fantasy people I'm doing in my current journal which I made with Nideggen, a tan toned paper. You can view these in other blog posts here on my blog.) Here are a few examples of other members' work of which I was able to snap photos:

Left: Jean Shannon shared her sketches from a recent trip to Japan. She worked in an Hand•book journal with a Pentel Pocket Brush pen and various other media. She told us how her friends are rebuilding after the horrible tsunami disaster. Click on the image to view an enlargement.

Right: Jim Blaha shared his sketchbooks. In this one he makes art on tape using Sharpies and other markers and then keeps them in his journal. He uses breaks at work and materials at hand to create an amazing visual record. In his other sketchbooks made when he is at home, he uses color. Both approaches are used to work out subjects and themes for his large scale paintings. Click on the image to view an enlargement.

 

Left: Clare Farrell gathered her drawings over a period of time and created this tunnel book to house them. Click on the image to view an enlargement.

 

Not only did we have an inspiring speaker, we were able to see what other members are busy working on. Karen Engelbretson shared some of her sketches of trees made with a Pentel Pocket Brush pen and white gouache on Nideggen paper (a light tan toned paper). 

If you keep a journal and would like to meet other artists who keep a visual journal I suggest you check out the information page on this group for upcoming meeting topics. This adult group meets the Third Monday of the Month. It's free (though for some meetings we have a nominal supply fee if we are making something). All skill levels are welcome.

For our May 21, 2012 meeting I'll be showing you how to make a Japanese Double Pamphlet using the wonderful Stratmore 500 Seires Mixed Media Paper. There is a sign up for that class as paper is limited, and you do have to bring a couple items so be sure to read the meeting blurb at the info page link in the previous paragraph. Come and make a tester book and then participate in our paper testing adventure. (We're going to write an article for Strathmore's online newsletter.)

More on Pat Beaubien and Her Presentation at the MCBA Visual Journal Collective

If you missed Pat Beaubien's presentation at the March 2012 MCBA Visual Journal Collective meeting and want to see more photos of her work and the event you can go to Briana Goetzen's blog Courageously Creating, to see photos that she took during the meeting. 

I put that link in an update on my post about Pat Beaubien's presentation, but I didn't want people who had already read that post missing Briana's photos.

Since Pat doesn't have a website we have to see her work in person, when we can. Keep your eyes peeled.

April MCBA Visual Journal Collective Meeting: Suzanne Hughes Speaks about Her Moly_Xchange Experiences

If you have ever wondered what it's like to take part in a journal exchange and would like to find out more, please join April's speaker Suzanne Hughes for her April 16, 2012, 7 to 9 p.m. talk at the MCBA Visual Journal Collective (at MCBA of course—check their website for a map).

Suzanne is a talented visual artist who keeps a visual journal. She also teaches art in high school—where she encourages and inspires her students in their own artist pursuits. Visit Suzanne's blog to see examples of her art, read about her projects, and see what she is doing with her students.

On April 16 Suzanne will speak to us about her experiences using Moleskine accordion books for exchanges (round robins) with other artists. (The books get sent through the mail.) 

The Moly_Xchange was started by Twin Cities artist Marty Harris. Hundreds of artists have been exchanging these books filled with their stunning artwork for several years now. In March 2011 an exhibit of some of the books was held at MCBA. 

So plan on attending Monday's meeting to find out how it works. Chat with other visual journal keepers after the presentation. 

The meeting is free and open to all adult visual journal artists, regardless of skill.

Come and be inspired.

Observing Nature: Pat Beaubien at the MCBA Visual Journal Collective

Above: St. Paul artist Pat Beaubien discusses her nature/travel journals at the March 2012 MCBA Visual Journal Collective. Here she shows a watercolor of a meadow near Grand Marais, MN where she rents a cabin as frequently as possible. Click on the image to view an enlargement.

First, before we go any further, Pat Beaubien doesn't currently have a website so what I was able to snap photos of is what you'll be able to see until she develops a website. You might encourage Pat to do that, she's tired of hearing me say it. If you would like to contact Pat with questions about her artwork you can reach her at patbeaubien@gmail.com.

On March 19, St. Paul artist Pat Beaubien came to the MCBA Visual Journal Collective to show her nature/travel journals to the members.

Pat is a watercolor artist who also uses pens and pencils of different sorts, "Give me one and I'll try it out," she said laughing, when someone asked if she ever used watersoluble colored pencils. In her hands ordinary tools are given a new life and direction.

Left: a stack of Pat's journals ready for discussion, along with her small leather pencil case which holds all of her supplies—several sizes of Niji Waterbrushes (including a flat), a Staedtler Pigment Liner, a Pentel Pocket Brush pen, and her mini palette filled with Daniel Smith Watercolors. Click on the image to view an enlargement.

Pat's idea of travel is to go to one destination and spend 2 or three weeks there sketching—not moving about trying to see a travel guide's highlight points. It is more satisfying to get to know one place, and Pat does this through her painting. 

Until her recent retirement Pat taught art to elementary school children. She would use her vacations to travel and paint. She would sell her paintings, made on site, to fund her trips. (When you view the stunning beauty of Pat's work you can understand how this was possible.)

During the school year, however her painting side was dormant. Teaching took her focus and energy. "Then in 2007 I took Roz's nature journaling class in Grand Marais," said Pat, "and took to heart her comment about doing a little sketching and painting everyday. It's amazing how quickly you can improve when you work everyday."

(Note: Pat was already more "improved" than most artists I see when I had her in class. I'm glad I had an effect on her practice.)

Left: Cone flowers and other blooms in a Grand Marais garden, share space with a local artist's garden sculpture. Grand Marais may have more artists per capita than any other town in the U.S. There are things to look at and purchase everywhere. This watercolor sketch is in one of her 9 x 12 inch Fabriano Venezia journals. Click on the image to view an enlargement.

Pat still uses the same mini kid's palette she got in class (refilled many times), Niji waterbrushes (also replaced over time), and Staedtler Pigment Liners. She'll experiment with new pens as people suggest them and she has become quite fond of the Pentel Pocket Brush pen. 

The palette contains the following Daniel Smith watercolors: Quin Gold, Azo Yellow, Burnt Sienna, Quin Pink. Napth. Maroon, Cobalt Teal, Phthalo. Turquoise, Indanthrone Blue, and Zinc White. The set originally contained Buff Titanium but Pat says she hasn't replaced that. Also she is thinking about replacing the Cobalt Teal to get a different range in her mixes.

Pat will sometimes do a light pencil sketch before moving to watercolor. Other times Pat will sketch directly with pen and then apply watercolor. Her method, she explained, is just what happens when she is seated and ready to paint.

While she initially continued making books of the type she learned to make in Grand Marais (8 x 10 inch sewn-on the spine journals), the urge to just paint was great, so she moved on to the Fabriano Venezia 9 x 12 inch journals. (Pat loves the large page size in both these books, and you only have to look at the results to see that's a great size for her work.)

Left: Pat sketches lakeside in the North Woods. Often one of her artist friends Nanette Lee will join her—you can see Nan in the bottom left of the image. Click on the image to view an enlargement.

As she spends more time up north exploring, revisiting painting sites she has previously discovered, Pat has considered returning to flat paintings but she was unsure how to store them. The Collective threw out a variety of portfolio options she could use to house the final paintings in "journal" form.

After her presentation and a round of questions the 25 attendees gathered around the table to get a personal look through Pat's journals, and continue the conversation. We all left inspired and ready to jump back into our own journals after our trip into nature with Pat.

Below: A view of a stone bridge on Lake Superior, using Daniel Smith Watercolors. Click on the image to view an enlargement.

If you would like to know a little bit more about Grand Marais and some of the artists living and visiting there you can check out this short film on the yearly "Plein Air Brush Off." Tom Winterstein supplied this link after the topic came up in discussion. 

UPDATE 4.13.12: Want to see more photos of Pat's work and the event? Go to Briana Goetzen's blog post at Courageously Creating. (Thank you Briana for capturing so much with your camera.)

Nature and Travel Journaling with Artist Pat Beaubien on Monday, March 19, 2012

Tomorrow at the March meeting of the MCBA Visual Journal Collective artist Pat Beaubien will be on hand to talk about her approach to nature and travel journaling. She doesn't have a website so I can't direct you to any of her lovely ink and watercolor journal pages. You'll just need to be on hand for the meeting at 7 to 9 p.m.

If you would like to find out more about the MCBA Visual Journal Collective please read the info page about it. This group is free and open to adult journal keepers of all skill levels. Come and join us for a fun evening. You'll be inspired.

Using the Journal in Times of Stress and Healing and Loss: Report on the February 2012 MCBA Visual Journal Collective Meeting

Above: Clare Farrell was the first artist speaker at the February 20 meeting. Clare has created a series of flag books as journals—creating strips of dazzling color and pattern that allow her to manage 10 minutes of creative input each day during stressful life events. Click on the image to view an enlargement. Artwork ©2010 Clare Farrell.

On Monday, February 20, 2012 about 23 people met to hear artists Clare Farrell and Anita White talk about visual journaling through times of stress while caring for and losing parents. (Both women have recently lost their mothers and now care for their elderly fathers.)

The women shared their uniquely different approaches and inspired the audience.

Above: Another of Clare Farrell's flag journals. In this journal she used her strips (which later became the flags) to draw a variety of objects, scenes, and faces. Click on the image to view an enlargement. Artwork ©2011 Clare Farrell.

Clare Farrell, who teaches music in the public schools, found the need to return to visual journaling when her mother's health was failing. To relieve the stress she found herself picking up strips of colored paper from another project and she started to draw and doodle on them, just ten minutes at a time. She was having chemical sensitivity issues at the time so she used only the Faber-Castel Pitt Artist Brush Pens and not paint. They are filled with colored India Ink.

After awhile she saw the pile of strips was growing and decided it would make a flag book. She did no planning, she just constructed.

Soon each month she was taking strips and following a color theme or idea, or a construction experiment (interconnected strips, strips with portraits, strips in black and white patterns, strips with hidden messages. As her own health improved she also began to work with collage and resists, no longer limiting herself to the pens.

In the progression of her flagbooks you can see how rich a series can be. You dig deeper, come up with a new direction, follow whims, and create more. Each piece leads to the next in a self-propelling way.

Clare organizes her strips into large 12 x 12 inch envelopes of clear plastic (the type you find in a scrapbooking store). When the month is over she binds up a book. Her books use her own hand painted papers for cover paper and end sheets over book board. She has used a variety of papers for her projects but she finds that when she gives them a color wash first with acrylic ink the papers tend not to absorb as much ink from her pens.

Above: Another of the more than a dozen flag journals that Clare Farrell brought to share with the group. This journal focused on patterns and color. These books stand on their own, when opened, and present not only a glorious riot of color, but a delightful structure of shape and shadow. Click on the image to view an enlargement. Artwork ©2011 Clare Farrell.

This method of journaling has been a refuge and escape from the stress of her mother's illness. The process has provided Clare with a way to return to calm, and to find solitude.

Upon seeing her work Suzanne Hughes remarked, "There is a musical quality to Clare's work." It's true. It makes perfect sense. There is a fabulous lilt. They are filled with wonder and play. It is easy to see how the work brightened her spirits.

Note: Clare doesn't have a website at this time. I will keep you posted when that happens.

Left: Anita White holds one of her illustrations of her mother. She documents the moment with illustration and with text. Click on the image to view an enlargement. (Anita moves quickly so the artwork is a little blurred but Anita isn't.) Artwork ©2011 Anita White.

Anita White's mother also recently passed away. She and her husband now take care of her elderly father. Anita's approach to visual journaling during this time is more pictorial—family reportage. She captures moments of the everyday (such as a series of drawings about bathing her mother), a family get together and what was said, or a trip to Como Conservatory.

Anita also explores her own worries, anxieties, dreams, and nightmares about the situations she is encountering. She does this with great humor and great honesty. She is creating documents that are an act of remembering. She strives to be in the moment and witness, to draw pain, and to find answers. She sees drawing "as a documentary tool. A tool of compassion. It's a prayer and a way of bringing in something that isn't painful."

Anita shared with us the many words of wisdom her mother and father have given her. She remembered her mom telling her, "Relax your outer life so you can focus on your inner life." The act of drawing helps Anita do just that. She carries her journal and her paints and Pentel Pocket Brush Pen everywhere she goes.

Left: Story boards made from journal pages relate events of the day spent in the hospital or with her parents. The artist's thoughts, fears, and hopes are explored while she documents what is happening. Click on the image to view an enlargement. Artwork ©2011 Anita White.

Whether she is in a waiting room for something related to the health of her parents or other family members Anita has learned that "Nothing is so scary that you can't draw it."

She has captured parts of life that we don't always see or pay attention to—pace maker check ups, parents in doctors waiting rooms, or fitting her mother with Depends.

Left: A sketch made at Como Conservatory during a family trip. (Gouache and Pentel Pocket Brush Pen.) Artwork © 2011 Anita White. Click on the image to view an enlargement.

Anita is one of the artists behind the LOLA art crawl. You can see and purchase her artwork at AnitaWhite.etsy

 

Both of these artists shared a great gift with us at this meeting—ways to stay focused, to keep calm, to stay present in the world. They showed us what it is like to keep your heart open at a time of life when there is great change and loss. It was an inspiring evening and I am very grateful.

Regardless of your current circumstances I hope that you too will draw inspiration from these two resourceful artists. Find ways to bring back color, hope, play, observation, and humor into your life—through your visual journal.

Note: I would like to thank Wet Paint for providing prizes for our door prize drawing—sample packets of Strathmore 500 Series Mixed Media paper and board. I've been writing a great deal about this paper (use the blog search engine to find information and my reviews). The paper is coming soon to their store, so if you have been anxious to try it give them a call to find out when it will be available.