Wednesday, April 20, 2011
I'm taking a short break from work on a painting for class (due tomorrow! Yikes!), and I thought I'd come share a few things that I've been learning and working on lately. Namely, painting with encaustic.

Our last project in painting was to paint a small panel with encaustic. For those of you not familiar with the term, encaustic is basically painting with hot wax. It's mostly beeswax and pigment, and can give some really vibrant, beautiful colors. It's a very different medium, though, from anything else I've worked with, and it was really fun to experiment with it.
When painting with encaustic, you have to keep all the paints in liquid form by keeping them hot, so all the pots of color are kept on hot plates or griddles, and when you paint with it, it sets up very rapidly, since as soon as it begins to cool, it hardens and becomes more opaque. That being the case, you have to work pretty fast. What is fun about it, too, is how easily it takes to things like collage, transfer, and building up texture or layerss. You can incise lines into thick layers of wax and fill them with color, you can scrape away layers to reveal what's underneath, or you can attach globs of warm wax to build up semi-sculptural aspects on a piece.

The pieces we did were small, and mostly, I believe, just for the experience of working with the new medium, but it was really fun to play around with. People who know what they're doing with the medium can really do some cool things with it, too. It's also interesting to note that encaustic is incredibly archival and will last for incredible lengths of time as long as it is not exposed to enough heat to melt the wax. We know it has been in use since the time of the Ancient Egyptians, who used it to create mummy portraits. Cool!
I didn't get far enough with my encaustic practicing to figure out how to deal with representational imagery with it, though I think it would be fun to try it. However, I found the website of Kevin Frank earlier today and was amazed at what he is able to do with this fun (but tricky) medium. Take a look at a few of his paintings!



Pretty amazing, no? I was very impressed, especially after having worked with encaustic a little myself. 

Anyway, I enjoyed the exercise and have a new respect for artists of Ancient Egypt -- and all other time periods that came before electric griddles and heat guns -- who managed to paint what they did with this medium!


Wednesday, April 13, 2011
Art enables us to find ourselves and lose ourselves at the same time.                         -Thomas Merton
I just began reading a book called Art & Fear: Observations on the Perils (and Rewards) of Artmaking, and even as little as I've read so far, I've really enjoyed it. It has already made some very good points. For instance, it talked about the struggle in continuing in art, and not quitting. They rightly recognize the fear behind most instances of quitting. Basically, it's a fear of failure. That's common. It's human. But it's also dangerous.

We allow fear to stop us from accomplishing anything. We let ourselves get distracted by what's going on around us. We become discouraged when other people are doing better than we are. We call it an inability to comply with deadlines or to work under certain conditions, or sometimes we simply contribute it to laziness, but what it boils down to is a fear of failure. The book makes a very good point about this -- one which I've recently come to realize myself as well: that when we label ourselves as artists, we identify ourselves with our art, and therefore, a bad piece of art translates to mean that we are bad artists. We become so closely identified with what we are creating that if once we fail, it instantly means we are a failure. But that's not true!

As a young artist, still trying to figure out what I have to say and where I'm going with all of this, I am right there in the middle of a lot of what this book is saying so far. Basically, art is scary. It makes you vulnerable. Creating art is like opening up a bit of your soul for people to look at, examine and criticize. It's a bit unnerving sometimes if you are still figuring things out. But that's part of what makes it so exciting. It really is an adventure!






Tuesday, April 12, 2011
Artists don't get down to work until the pain of working is exceeded by the pain of not working. - Stephen DeStaebler 

I did warn you that my "sketch of the day" was not likely to be a daily thing, and you can't say I didn't tell the truth. But I'm not giving it up completely! I have a sketch for you today, and I also have some clay projects to share as well.



These are just some scans of pages from my sketchbook where I was sketching people unawares. I have a friend who calls this "Ninja sketching." I think that pretty much sums it up. They're just loose, gestural drawings, trying to catch the impression of someone before they move -- or worse, discover that you're drawing them. *Gasp*

But as I mentioned, I'd also like to share a few of my current clay projects. They're still in the works, because they are all unglazed currently. I'll just give you a little peak into the in-progress works, and hopefully by the end of this semester, they will all be nicely glazed and I can show you the finished product. 
As usual, click to enlarge. 





I'm enjoying clay. It's a fun medium. Messy, and a very fast-paced class, but fun. 

Monday, April 11, 2011
Hello there! Happy Tuesday. I hope your day was pleasant. Mine was pretty good. Less productive than it should have been, but oh well, it happens. I was struggling with ideas (or rather, the lack of any idea at all) for my drawing project during class today and didn't get much work done as a result, but I think I've come up with something interesting now. Stay tuned to see if it pans out. I'll wind up posting about it in a week or so when it's done, I'm sure.
Ok, well time to continue from the last post. There are still several more paintings in the series!
Let's jump right in.

NUMBER FIVE:

For this one, I took the idea of roses from the last one, and combined it with the rectangular shape of the cards, but in a very different way. I used splatters and broad strokes of watered down paint first, letting it drip down the canvas as it would, then collaged on rectangles torn from some scrap fabric I had lying around to create the background. Then, using the flexible modelling paste mixed with some red paint, I created little roundish, rose-shaped dollops, which I highlighted with white paint to add some needed clarity to them. I then dragged some green (mixed with modelling paste) down from them with the palette knife for emphasis on the stems. That flexible modelling paste stuff is quite fun. 

NUMBER SIX:

Well, after looking at the rectangles from the last one, I felt like it looked kind of like a skyline, so I decided to paint this one about a city -- lots of rectangular building shapes. To continue with the rose theme, I stretched some faintly floral-patterned fabric onto the canvas first, then painted a very rough, loose impression of a city (Venice) from a picture on an old postcard. I used some thicker paint and modelling paste with a palette knife to finish off the parts I wanted to come forward a little. 

NUMBER SEVEN:

After that, I decided to use the post card from which I had taken the scene of the last painting. I also had some other post cards, most of them somewhat antiqued, which I had gotten from another student who had brought a huge box full of them to share. I liked this idea of travel and communication, so I collaged on the post cards, used pouring medium over them, and floated some old stamps (from left over post cards) and some antiqued lace into the surface.

NUMBER EIGHT:

Well, the whole time I was working with the post cards, I kept wondering about the relationships between the senders and recipients of the cards. Invariably, I wondered if there was any romantic connection between them, or if there had once been. Maybe I've just seen too many romantic movies or something, but it just seemed like such a beautiful idea. So I started thinking about love letters, and this is what came of it. The background is made up of some printouts of antique letters (in French, I believe, though the words are now so obscured that they are illegible) in lovely, sweeping calligraphy. I thought they were quite elegant. Then I painted this lovely figure over them. She was quite difficult for me, actually, as the reference I was using was very small and indistinct, and I struggled against my urge to want to make her very precise and realistic. I wanted her to be left somewhat loose and indistinct, a little painterly, yet at the same time clear. I felt it added to the "romance" of the picture. I'm...at least decently pleased with her in the end. Finally, I tied a bow with twine around the canvas, like a package to be sent to someone. 

NUMBER NINE:

The final, and my least favorite, this one came from the idea of communication, and how it has changed over time. Letter writing is kind of a lost art these days. Unfortunately, I was kind of in a hurry by the time I got to this one, and I had really struggled for a decent idea for it. So I just collaged on logos and images from popular communication methods of today -- internet, phone, etcetera. Then over the top, I placed an antique letter, similar to the one in the background of the previous painting. Over that, I sketched an inkwell and pen in charcoal. Like I said, it's my least favorite, but it's acceptable, I suppose. 

So there you have it! 


On another, totally random note, I cut my hair! (I know that seems really mundane, but I cut it super short, and it's a rather drastic change, so I felt the need to say something about it.) It's a pixie cut now! I'm loving it. 



Thursday, April 7, 2011
Phew, it's been a crazy week or so. Projects had piled up on me and I wasn't able to get around to sharing! But thanks to one of those projects, at least, I have some fun things to share with you, readers. One of the projects that had me so busy was a painting project for which we had to paint nine small, 1'x1' canvases or framed panels. Going into it, I was concerned by the number of them, and the rather short time we had to finish the project. However, it is now one of my favorite projects we have done. I feel like I learned quite a bit, and really had some fun playing around with things that I've never been brave enough to try before.

The assignment required that for the first small painting, we started by responding to a part of our last painting (for me, that was the large Janet Fish still life). For the second painting, we responded to the first small one in some way; for the third, we responded to the second, and so on and so forth, so that it was like a visual game of telephone in a way. My final series wound up looking a little bit on the random side, the connections being more conceptual than visual, but that's okay with me. I wanted to use the project to experiment and stretch myself. I wanted to try new things and play around with mediums.

I painted all of them using acrylics and acrylic mediums, which in itself was a stretch. I've gotten so comfortable with oils that going back to acrylic was a little irritating at times. I really wanted to play with the various acrylic mediums that our professor had shown us, though, so it was worth it to me to put up with the acrylic paint in order to allow for the experimentation!

So, enough talk, let's get down to it! The first few paintings in the series:

NUMBER ONE:

This first one I took from the section of the larger painting with the little tea cups. I painted it as representationally as I could, but left out the purple, swirly shadows from the first layer. Once it had dried, I went back in with acrylic pouring medium (cool stuff!) and poured a thin layer of that over the whole thing. I left that to dry overnight. The next day, I poured a second layer of pouring medium, and into it I swirled watered down purple paint in this swirly pattern. So there's actually a little depth between the layers thanks to the pouring medium that's not entirely visible here. Also, the bright white shine is due to the pouring medium.

NUMBER TWO:

For this one, as I tried to think about the first one and where to go with it, I just kind of got stuck on the idea of the tea cups, even though you couldn't really tell at first glance that the circular shapes in the first one were tea cups anymore. I found an old version of Alice in Wonderland lying around the house and decided to use the pages from the "Mad Tea Party" chapter and the illustrations from it. I loved the idea of using the antiqued pages and classic ink drawings. I still incorporated the swirls from the previous painting as well, but this time I made them three dimensional by using flexible modelling paste under a blue wash. I used clear gesso to collage down the pages and a very, very watered down wash over parts of it to incorporate the various parts of the painting into one another.

NUMBER THREE:

Well, now I was stuck on Alice in Wonderland. It was just too fun to let go of right away. So I started looking through the book for other illustrations that I liked, and found this one. I drew it onto watercolor paper, using the illustration as reference, and then inked over it with a pen. I put a light blue wash over the drawing, and then I ripped the drawing into pieces. I first tore out the whole drawing, then tore one of the cards (the one on the left) away from the others. I used other scraps of the paper, all with color wash of either blue or orange, and collaged them onto the panel using flexible modelling paste to put them at various levels and to create texture on visible areas or over parts of the paper.

NUMBER FOUR:

Cards, roses, roses, cards...What to do...Why not make a rose out of cards!? So I did. This rose is made out of playing cards and attached to the board and to itself using the same flexible modelling paste (I discovered this to be quite the versatile stuff). Took a while, but I was pretty pleased with it. I painted the background the same red as was on the back of the cards themselves, but left some of the brush marks slightly visible, and darkened one side. I then copied the same design that goes up the sides of the cards into the corner, and let that kind of dissolve into splatter by the right side of the painting. 

Ok! I'm going to let this post be a "to be continued." Check back in a few days for the last five in the series! 



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Rebecca Aragon
Hi! I'm a college student from Texas, getting an undergrad in painting. I'm enjoying life and discovering who I am in my art as I go along. I'm a painter and a graphic artist and I dabble in all sorts of other mediums as well.
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To see more of my work in various mediums, visit my DeviantArt page and my website. I try to keep them updated with most of my work.
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