WIP WEDNESDAY: Session 3 an Idea

20180718_112453-02.jpeg

This week’s work in progress is an idea. I am happy with where I ended on the roses, I have not actually traced the sunflowers, and I didn’t devote the time in the studio that I would have liked. What I have done is make a shift in the way that I think. I am considering how to make installation work combining sculpture and painting, it is an idea that has been on the back burner for quite some time now. I want to do a series about my experience (or lack of) with my cultural heritage(s) and examine how that tenuous connection has affected my life. I’ll share more when I can articulate my thoughts better, but that’s the idea that has been buzzing around my head.

20180718_112453-01.jpeg

Good fit for the Work Room

Another work in progress this past week has been me. I have been struggling to prioritize my life around art and even prioritize myself. I frequently get lost in the roles and relationships I have with others and don’t consider what I need to be happy or successful. I am making a concerted effort to center my thoughts and process my emotions, and spend time working out my own issues. I can already tell this shift in focus is beneficial because I am starting to think creatively again. The majority of my background thoughts have always been occupied with scheduling chores and how I can fix problems for others. It’s not constructive studio time when your brain is split between trying to tackle solutions for other people and trying to reform your own artistic process. Reshaping the way I think is probably one of the hardest things I’ve ever done but well worth it for the ability to create new ideas.

20180718_112928-01.jpeg

Bouquets of paint brushes interrupted by some flowers

WIP Wednesday: Session 2 Floral Floundering

20180711_135636-01.jpeg

I mean it’s going okay, not great, but not terrible. I have been working on the pink roses and rediscovering all the old problems that made me quit working on it in the first place. One thing I realize I’m doing is I’m treating the under-painting too preciously, so I drenched it in paint. It’s an experiment anyway so why not push it. I added the cool blues and greens like I wanted and I am enjoying the effect, but when it gets more tacky I’m going to need to address the flowers (again).

20180711_133940-01.jpeg

While that dries some I’m going to work on these sunflowers.

20180711_133803-01.jpeg

I drew an outline, prepped a canvas with more gesso, and sanded it smooth. I never tried smoothing a primed canvas before, probably out of laziness, so I’ll see how it goes. I need to trace it to the surface today, and I’m thinking about how I want to lay down color and the underpainting. From working on the roses I’m realizing I really am lacking in the planning and development part of my painting.

20180711_134515-01.jpeg

Planning isn’t the thing I need to work on, I need to refine my set up as well. I don’t feel like I have enough space to mix colors and I don’t like my paint storage system. With every step forward I see how much more I need to learn and do. I have a few ideas I’m trying out and some plans for arranging the space better as well. I will let you know as I tackle it!

20180711_134515-02.jpeg

 

I made the Cover -Art

20180709_115141-01.jpeg

Art by Max Currie, go check out his stuff!

Finally! This post! I mentioned a couple posts back I did a painting for a friend’s book. Well that book happens to be a graphic novel my artist friend Max Currie premiered at Heroes Convention in NC. He and his co-creator Tony Zollo were set up in the Illustrious Indie Island section of the con selling copies of their newly pressed 120+ paged book.

Flag Hunter Volume 1 - with title - watermarked

I am super honored that Max wanted my art for the cover, I have always been a big fan of his work and I really love the story line in “Flag Hunter”. It was a bit of a trial working on it but I really like how it turned out. I’m really not exaggerating about it being a trial: I left myself 24 hours to get it done and fought with my materials every step of the way.

20180607_144904-01.jpeg

Notice the pink coffee mug dangerously close to the art supplies. It did get a paint brush dipped in it.

To start my process I do some rough thumbnails to figure out what image I want to go with then I gather reference images. Jared was very accommodating for the whole process.

I enjoy playing with different levels of opacity in my art and revealing different stages of my process underneath. Normally I do this by doing an under-painting in bright accent colors, and selectively add paint on top with an opaque color in oil paint. With the time crunch I put myself in oil paint dry time was out of the question. 🙃

Resigned to using acrylics, I sketched out my image and traced it onto my final substrate, a leftover piece of watercolor paper. Or so I thought. 🙃🙃 There is a reason for shelling out $$$ for watercolor paper, because its fibers have a special sizing that absorbs liquid in a beautiful and feathery way. The paper I had just traced my sketch and partially inked an under-drawing onto was not absorbing water or color in a beautiful or feathery way. Queue some internal and external screaming. **pro tip lesson learned: label scraps of art paper with some artist tape so you always know what you’re using**

I didn’t have any other watercolor paper that was both large enough and smooth enough to work on. I needed something at least 12×18 for the scanner and with a smoother surface so it would play nice with pen tips. I decided to use a piece of paper from an Arches coldpress (textured)  block I had. Luckily after tearing the sheet out I discovered the back of it was much less rough so I ended up using that. Crisis averted, and I was able to lay in a beautiful ink wash with my Liquitex inks.

20180709_113252-01.jpeg

Just the loveliest.

Next up to give me sh*t was my acrylics 🙃🙃💀. I’m mostly an oil and watercolor painter, using acrylic only to do large washes in under-paintings. I haven’t invested in quality acrylics so the majority of my collection is hand me downs or leftover samplers from employee art competitions from my days working in an art store. -Btws those competitions were always with pretty terrible student grade paint- Suffice to say the struggle was unreal. Between terrible thin texture and exceedingly quick dry times I had a few moments where I wondered if it would even come together.

It did though! And I will definitely get a quality set of acrylics before ever working with them again. I was impressed with the few decent tubes of paint I had. There were a few tubes of Liquitex that belonged to my late grandmother that have to be nearly 30 years old by now and were easily the best paints of my collection. Their feel and texture held up and were a small ray of hope in my caffeine paint fueled haze.

My Tombow Markers were the saving grace of this painting. They had bright punchy colors and actually worked on top of the acrylics as well as under it. It was my first time experimenting with this technique and it’s definitely something I will try again.

So with a little caffeine, a little ingenuity, and healthy amount of panic I finished the painting just in time to scan it in and send it to Max. I learned a lot of helpful things while working on it and honestly I did enjoy the process despite my emphasis on the frustrating parts. Now with that accomplishment I am feeling more confident in attacking new projects, be on the look out for more to come! 

Creative Atrophy

DSC01088.jpg

It’s six in the morning and I am sitting in my studio. It’s a mess, and not in the creative fury of thoughts and action kind of way either. It’s wrecked in the dusty, disheveled –I didn’t know where to put these things so I stacked it on my dried out watercolor palette ‘cause it’s not like I’m using it anyway– kinda way. The atrophy of my creativity is painfully apparent.

When I’m working it’s understandable to not have creative energy after 12 hours of physical labor. Weekends between working days can also be a mad race to complete all the washing, cooking, and shopping for the busy week to come.

But I haven’t had a union gig for quite some time (as is the nature of the film industry). I tell myself that work will pick up soon and I should be take advantage of all the down time but somehow days and nights pass and I still manage to avoid just sitting in my studio. I’m always able to fabricate a list of other chores that needed attending; there are meals to prepare, laundry to catch up on, rooms to destroy with the pretense of “organizing”, and of course, plenty of shows to binge.

DSC01071.jpg

It is not about energy I have, or the chores I list that keeps me avoiding my studio. I have put so much pressure on the need to make something “good” that I haven’t actually enjoyed the process of drawing or painting in quite some time.  My future feels like it hinges on my ability to create good work. It becomes overwhelming when each drawing or painting feels like it needs to be the piece that starts the portfolio collection that will jumpstart my career. I want very much to be a successful Artist, able to sustain myself fiscally with what I produce, spending my days making and creating. I find it difficult to just start a piece with all the self-imposed expectations looming overhead. I know I am going to have to set aside my trepidation and embrace works that won’t be up to snuff.  There will be a lot of bad and mediocre pieces while learning to make great ones.

DSC01062.jpg

So these are my first steps toward learning to accept failure as an instructor and allow myself a reasonable pace to discover who I am as an artist. There isn’t really a straightforward life model for growing into what I want to become. As I chart my own path in making creativity a career I’ll share my process and everything else in between that sustains and inspires me, here in the Den of Leaves.