Thank You to Those Artists Who Share, or, Where I'm Hanging Out These Days

Tabs for my 2016 Art Journal

Pull of the Tides has been on hiatus as a blog for some time now. That is because I am spending my creativity in ways other than writing these days. Namely, I have been making a lot of two-dimensional art on paper and taking tons of photographs. 

My intention is to keep Pull of the Tides right here, where it is, while I pursue other avenues of creativity. I may ultimately come back to writing again. For the moment, I find that several microblogging apps suit my purpose, most especially Instagram. 

To keep up with me on Instagram, browse here to my ~runningwave~ feed.

While I've been away, I have been taking some amazing art classes both online and in person. I have attended several artists events, visited galleries, and chatted with artists virtually and in the real world. Staying connected to creative communities is very important to me.

Beginning a new journal spread with stencils and ink.

A beautiful background created during Seth Apter's Brick By Brick workshop

Not all of my inspiration is coming from visual artists. Lately, I find myself fascinated by authors, musicians, actors, movie-makers, tv writers and video editors. When you can transmute ideas from one medium to another, that is good, artistic communication. There are so many people out their who are making good art.  

Growth Happens . . .

New Oak Moon art journal spread

This abstract oak tree is the result of an art journaling exercise facilitated by Effy Wild's Moonshine 2014 course.  We are making art inspired by the seasons and cycles of the moon all year long. She provided the course content in June, but it took me a while to get started. And then it took me weeks to finish. This is the most intricate art journal spread I've ever undertaken, but I'm really pleased with my results.

While I was working on it, I never thought it would look cohesive. There are many layers to this page. The very first is a background layer of color painted onto the paper with Gelato pigments, giving the whole page a softer, nearly pastel feel.

New Oak Moon - detail

Effy's lesson recommended a collage layer next that would create a mosaic feel. I was skeptical about how mine would turn out, but there are enough greens and earth tones to off-set that energetic paint layer with Summer colors of oranges and reds.  Next came the tree, painted in acrylic and then detailed with "bark" lines of Black Pitt pen and Sakura metallic gold ink.  Then I drew in each oak leaf and filled them in with various gel inks. The metallic just jump off the page. Finally, I used a paint pen to make all of the green circles with the final touch of outlines around them in black ink.

I worked on this piece off and on between other projects over a period of three weeks. I had to practice drawing the tree a number of times to get a trunk and branches that I liked. I also had to teach myself to draw abstract oak leaves, so I filled an entire sketchbook page with them drawing slow at first and then speeding up. It was time-consuming to create all of tree's detail, but the detail is what brought together the living-tree shape.

I used to prefer to keep backgrounds very simple if the main focus of the piece was going to be an illustration (rather than pure abstract collage). But now I think that this tree would look very different on a plain background. The effect was worth the effort.

In the meantime, I have devised several ways to recycle my own art.

I shared a page of watercolor lines in my last blog post.  I have several of these pages of watercolor lines because I practiced the same blending exercise several times.  I took giant hole punches yesterday and punched out 2" inch and 1 3/4" inch circles from one of the practice pages. It's very likely that these circles will begin to appear in different collage pieces I create in the near future.

Collage circles punched out from a watercolor practice page.

Each circle has its own character. I like how some have more curvy lines than others. The colors (even in the page made with cheap watercolor paints from a classroom set) are cheery and take on a whole new appearance when they are liberated from the rectangular parent-page.

Finally, I had been debating what to do about the cover for my recently-begun art journal. The book is an 11 3/8" inch by 8 1/4" inch bound Dylusions journal book specifically made for mixed media creating. I love the size of it and the fact that the pages are bound to open completely flat, making painting and drawing easier.  The cover is just craft-paper brown, and it kept staring at me asking, "when are you going to cover me with art?" But I could not decide what to do.

I debated for days. Maybe I should just paint it a color so it's not blank. No, maybe I should collage it. Then it hit me, I had a favorite 4x6 index card piece of the full moon in July.

Brand new cover for my art journal.

I used the book cover as a frame for my index card art, by painting around it in acrylic and ink layers. I taped a starry-night washi tape border along the book's spine so that it matched the night sky theme. And I glued on mylar stars surrounding the picture and an arrow with my title and the date to remind me of when I created the hand-moon picture.

Now it is happily situated on the front cover of my journal so that I can look at it and let it inspire me all of the time.

Training for the Big Leagues

"Blend" experiment from Tammy Garcia's "Watercolor Playground" Class

I've had some wonderful opportunities lately to learn art techniques from different teachers. I recently decided that I wanted to focus on art journaling. I am becoming fairly comfortable with acrylic paining, but my watercolor technique is fairly amateurish. Watercolor -- for those of you who have not played with it since art class in a K-12 environment -- is a very difficult medium. Just how much water to use or not use is always tricky. And you cannot truly control watercolor, so you have to practice to understand its limitations and benefits. This I know from my brief Intro to Art 101 in college where I got to experiment with new art media every two weeks. I really want to get to know watercolor at a whole new level, so I chose to enroll in Tammy Garcia's online course called Watercolor Playground.  

My first project was Blend, or an experiment in blending pigments painted adjacent to each other in a whole page of lines. I am posting the most successful of my Blend painting so far. This one was done with my very first set of professional grade watercolors which I purchased for taking this class. It was amazing to me how vivid these paints are, after years of using a cheap set that can be bought at any craft store for under $10.  You really get what you pay for when purchasing paints.  While I can see that I still need more practice with blending, I'm definitely improving.  I plan to cut up the practice pages for collages or backgrounds for other artwork.

I also had the good fortune to take a live class taught by Kass Hall, who is an amazing art journal guru hailing from Down Under. What a treat to take two workshops in a day from an artist who lives on the other side of the Globe at my favorite local paper-obsession store, The Queen's Ink. Truly a privilege. What I loved most about taking Kass' workshops is that she did not dictate what the final product should be. She gave us some very good layering techniques to build an effective art journal spread and taught us her secrets of making legible lettering.

Desert Rose, left page, made in Kass Hall's "Lyrically Speaking" class

Kass asked the class to find lyrics to a song or lines from a poem that really inspired us for the first workshop of the day. I chose Sting's "Desert Rose," because it's a favorite of mine and also because Sting's words evoke so many images for me. I brought some collage papers with me that I knew I would want to use, and found elements among those Kass passed out -- clip art from websites and swatches from her own art journal pages scanned at high res. I am pretty pleased with how these turned out.

Desert Rose, right page, made in Kass Hall's "Lyrically Speaking" class

I also took an afternoon workshop with Kass, where she included her technique for drawing faces. I am still working on that spread and will post photos when I feel it's in a more finished state. I am so pleased with my results. I had been avoiding painting in an art journal in favor of separate pages, concerned that I'd mess up a page. I am beginning to feel more confident about what I'm doing after a whole year of concentrated mixed media practice. And if I come up with really ugly pages, I'll just paint over them. I'm okay with that.

So now I have an art journal that will travel with me throughout the next phase of my artistic journey. I hope that it becomes a more frequent practice. I am making plans to incorporate my journaling into my daily life, so stay tuned for more.

Even when I'm away from home, I am still thinking about art. My husband and I visited New York City last weekend to catch the fabulous exhibition on the Italian Futurists at the Guggenheim.  I admired the brash and colorful Futurist paintings when I was taking art history classes, but I had never heard about women being involved in the Futurist movement. In fact the Futurist Manifesto of 1909 is decidedly anti-feminist. Apparently that did not deter Italian women artists from participating in the movement. Benedetta Cappa's work is featured in the Guggenheim's exhibit, and her massive mural scheme for a Post Office in Palermo, Sicily (1933-1934) was the capstone of the whole exhibit.  There's a New York Times article interviewing the show's curator who talks about the work of this amazing artist.

Studio of Andrew Wyeth, Chadd's Ford, PA, Brandywine River Museum

Then, in contrast, we switched from the bombastic Futurist expressions to the more pastoral scenes of days of yore and country life painted by the various artists of the Wyeth family in their studios near Chadd's Ford, PA. The Brandywine River Museum preserves the homes and studios of the Wyeths and offers guided tours. Given how spartan Andrew Wyeth's paintings often are, I was amazed by the chaos in which he enjoyed working. The museum has recreated the whole ambiance with copies. I'm including a photograph of his studio that I took since our tour guide allowed us to take photographs. Apparently he drew many sketches for major works, but then let them fall to the floor of his studio and did not consult them much while he was working. He had already drawn the subject, you see, so the drawings were only the means to his end product.

His father's, N.C. Wyeth's studio was filled with props befitting a practitioner of swashbuckling illustration art: canoes, costumes, marble busts, weaponry and arms, helmets, etc. There is a copy of his final, unfinished illustration of George Washington on his easel, much has he must have left it on the day he died in 1945. I loved N.C. Wyeth's study for a mural of his whole family that the Museum is featuring in the Wyeths' large parlor. It must have been a small space for such a large family, but given how many creative people lived and were raised there it could not have been too distracting.

It is always so interesting to see how other artists work. Studios are a product of the individual who works in them.

Turning My Face Towards the Light

Last winter was a long and cold season. I had to fight hard in order to keep the winter blues away.  I am now fully aware that I experience a dramatic shift in mood and energy once autumn rolls around. It has been a struggle to educate myself on how to deal with this mental roller coaster.

I bought a blue light box in late November and began using it every morning at the recommendation of a medical practitioner. I reminded myself to take walks outside in the sunlight on my lunch breaks whenever the weather wasn't too bitter. I sat near any windows I found. My daily routine included opening the shades in my apartment early every morning (I know, it seems obvious that the shades should be open, but I like it in my cave when my winter mood is upon me.)

The one fully-realized painting I did was of a sleeping girl and her guardian wolf in the winter woods. I was actually quite pleased with how the vision in my head was realized on the page. The painting is actually proof that I managed to gather some energy for art-making even in the darkest month. Too late, I realized that I had already planned another project to distract myself again from art-making.

Fearing the mental stagnation that I felt during the winter 2013, I had enrolled myself in an intellectually challenging, paralegal class that began in January. It was a test, really, to figure out if I wanted to expand my career horizons. I worked hard all semester, and did well in the course, and the information will be useful. I also learned that I don't want to go in that career direction. A useful thing to learn.  I had a sinking suspicion that as easy as it is for me to do well in a field where brain-power is key, focusing on adding facts to my brain at this point in my life is kind of like running on a treadmill. True, it is good exercise, but it is at odds with a need to expand and vary my training. Especially, if I have a goal to think beyond the boundaries of my life as it has been until now.   Taking the law class helped me to decide that making art is what I need to be doing with my spare time.

I recognized this because as I began the climb back out into the full light of day, my mind and my mood cleared again. Slowly I was able to push the cobwebs away.  I discovered that I wanted to be outside. I wanted to do something more active.  The old me would have found engaging in class work productive, but studying did not give me the same feeling of satisfaction as painting or mixed-media creating. While being engaged mentally in a class did help me mentally, it dawned on me that I was craving something not purely about filling my mind with facts.

April rolled around and I was using my weekend time to draft legal briefs and memoranda, when there was something inside me nearly bursting to create visual art.  Just as soon as my class began to wind down, began to include painting in my routine again.

I am part of a year-long group working with artist Effy Wild on imagery relating to the lunar cycles. I'm very glad that I chose to begin working again on journal paintings on her May flower-themed prompts. I learned a great method for creating idealized feminine faces from Effy's online tutorials.  I find faces so difficult, but when the prompt came, I took the plunge and worked in acrylics to create this Forest Sprite surrounded by blooming flowers, with inspiration from the iconic gold backgrounds with spirals and halos of blossoms favored by Gustav Klimt.

 I look at her and still see all of the problems, the lines that didn't quite go where my mind willed them.  I am trying to also see that my practice is leading somewhere, I only I am brave enough to continue trying to draw and paint.  The violet tucked behind her elfin ear, just felt right to me.














It is clear to me now that the work I am doing in attempt to be more balanced and creative year-around is slowly happening. I have no idea how I am going to keep my creative juices flowing during the darker months later in the year, but I realize now it is the path I'm on.

I don't have any difficulty with it at all in the warm months, and now the height of summer is coming.  And now my face is turned like a flower to soak up those sunbeams.

Burning Bright

“The flame that burns Twice as bright burns half as long.”

― Lao Tzu, Te Tao Ching

The work on my studio table has tended to be bright and loud, like a symphony orchestra.  

I think it's happening because I am so energetic during the heat of the year. The summer months feed me and drive me to do - do - do.  It can be exhausting, but it's always exhilarating.  I guess I am making up for my lethargy and sluggishness during the dark, winter months.

In August it's almost inevitable.  Sometimes I find myself burning my candle at both ends.  I sleep less and hop out of bed in the morning -- the opposite of what I do in, say, January when I'm cranky, tired, and in a mental torpor.

Summer is with me now. And what a summer it is! The Mid-Atlantic coast has had unbelievable dry, pleasant, and balmy weather since early July.  It hardly feels like Chesapeake weather at all.  It is so blissfully perfect. I find that this unexpected and positive mini-climate change feeds my desire to be up and making and seizing the hours.  This morning is no exception. I am up long before the sun.  I am reviewing my amazing sprint of creativity this past week.

I finished an art journaling page that is a lesson taken from my online journaling course, Life Book 2013. This exercise was created by Aimee of Artsyville, who is a wonderful woman of doodling and a color genius.  I am doing the course exercises in random order based upon whim and mood.  This one seemed right for me at the peak of my frenzy.  I used the loudest colors of stamping ink I owned and plopped them down on regular printer paper to get the brilliant background tones you see here:

Things I Can Control - art journaling page by ~runningwave~

Following Aimee's guidance I then cut out a "ground" and a bunch of smaller shapes, regular and irregular. I did some detail-work in pen on the shapes. I selected my favorites and jotted or wrote or collaged pieces onto the shapes that relate to my theme, Things I Can Control. The lock and key motives just sort of happened. The printed and stamped quotations that I discovered while making this project suited my tastes, so I adapted them to fit the pieces. Once everything was glued down nicely and dry, I went over everything with some Sakura markers. Sakura gel, glitter, and glaze pens are my new favorite art tools.

Thank you gift tag

I've also been using my talents to send gifts. The "Thank you" gift tag went to my co-workers in the tech department at the endgame of a major project and the completion of the summer internships. Those folks have been working hard and I've been a demanding customer, but I am so pleased with the results. I made sure that the tag arrived on a box of French macaroons just because they have been so extra helpful.

I am also preparing a gift - *shhhh* - for a friend of mine who'll be visiting town soon. I am not showing the gift, but I can reveal the envelope.  She's an astrophysicist and a really amazing friend. I am celebrating her success; she just received a major promotion. This accomplishment is a validation of hard work that she's been slaving over for years. It's a big deal and she should be proud of herself.  

Lesson to artists:  Never leave a white envelope un-decorated.

Envelope painting for my astrophysicist friend who just received tenure

Game on!

I managed to finish a complex project. My game board was created as an art journal page, inspired by an assignment presented by mixed media artist Kelly Hoernig. Kelly is one of an array of instructors who are teaching as part of Life Book 2013 - a yearlong odyssey of mixed media goodness guided by Tamara Laporte.

I really wanted to do this assignment earlier in the year when it was first posted. But I could not seem to gather the energy to create anything. The course was just not gelling for me in January. Now that I find myself back in my groove, the ideas flowed easily. Kelly laid out the step-by-step procedures and I modified them just a bit to suit my style. The assignment was to create an art journal page with the theme of Let the Games Begin, which was Kelly's take on "Celebration and Journey" (the monthly Life Book theme).
I drew my own streamlined 1930s style roadster for my vehicle. Kelly invited us to choose a word to set the tone for the journey you are on, and mine is "practice". She recommended a map background, and you might be able to make out the highway map of my region under the layers of gesso and paint. My background colors are watercolors.
The pocket at the bottom left holds five altered playing cards which match some of the important ideas of encouragement that I hope will influence my art in the next year. There is also a card with the definition of "practice" written out on the back.

It took me two weeks on and off other projects to make this game, mostly because I spent a lot of time layering with paint, gesso, and collage bits.  I am happy with the results, even though not everything I tried worked. (For example, my attempts to practice Kelly's method of color wash spray to outline the game board did not meet with satisfactory results, so I used Distress Ink instead.) In sum, I learned a lot and gained some confidence with several mixed media techniques. That is what counts.