Acrylic Medium

I often spend days in my studio playing around with (or experimenting with) different acrylic mediums to see what I can do with them.
I can tell you this - the applications are innumerable!

Take this for example -

The (highly) textured orangie colored section is a piece of canvas to which I applied Golden's Soft Gel.
I used some implement that was on my studio table (or maybe the implement was my finger) to create the texture.
I allowed this to dry completely.
Then I created a wash of a couple of fluid acrylics (looks like Quin/Nickel Azo Gold was part of it) and brushed this over the entire piece.
What you see is a small section of the piece of canvas. I have been cutting up my samples and using them in different projects.

What do you do with your samples?

Pathways

I have been thinking about this months theme over at the Sketchbook Challenge blog –

Pathways.

How did I want to approach the subject...

where would I start...
what would my inspiration be...
when would I get off of my (uninspired) rear end and get going with it...

As my regular readers know, last several weeks I have been struggling with some type of artist block -

not a true block I know, but troubling to someone like me just the same.
I have always had a plethora of creative ideas.
I'm not lacking there, even now.
It's the energy to get started or follow through with anything that I am having issues with.
So – I am trying a little exercise today to see if I can jump start that ol' creative energy.

I chose three separate pages from my sketchbook that I had been working on when I last saw my energy.

Yes, I am going to try the “if you lost something go back to the last place you saw it” routine...

Back to the three pages.

I had started playing around with an idea that I had for a collage piece.

I usually work in my sketchbook first- investigating symbols/meanings/looking at drawings, etc. on the particular subject.
Then I begin the process of combining or merging the subjects. This may be as simple as drawing them from different angles or collaging them onto a painted background.
This particular project was to include poppy seed-heads and botanical drawings (among other things).
I did a couple of drawings in my sketchbook of poppy seed-heads (I know you're shocked) and decided to carve a stamp instead of having to draw them all. During the carving process, I ink the stamp and stamp off sample images in my sketchbook to see how it looks. I always keep these pages to add collage items to later. This is a wonderful way to avoid that dreaded “white page syndrome”.

Here is a sample page (or two) of the “stamp-offs” that I did.

Notice I had already used one page to do some contour drawing on. I kinda like the combo of the two (the face + the seed head) and may wind up using them together.

I would have never known this had I not taken that particular pathway.


“Many are obstinate with regard to the pathway once they have set upon it, many without regard to the goal.”

Friedrich Nietzsche

When I am creating art, when I am “in the zone” as some would say, I am not obstinate about the pathway or the goal.

I may have started out with a particular idea but it usually morphs or changes as I go.
I often allow my choice of materials to change the outcome.
I always give myself permission to change my mind, to change the end goal.

There are many, many ways to obtain similar outcomes or goals. It's a great idea to set aside time and materials to play – don't worry about the outcome – just pick a pathway and run down it.
If you see something else you like while on that path, just veer off of it!
Run down a different pathway!
The important thing is that you are enjoying the pathway that you take. Or that you're beginning to enjoy it.

Here are a couple of scans of the different pages that I was experimenting with.

This one is a collage background using acrylic paint washes, tissue paper, paper napkins, watercolor paint, and Neocolor 3 crayons.

I stitched a poppy seed-head design over a netting fabric to create a light shadow as well as to create the stitched image on the opposite side.

Here's a scan of the opposite side of the stitched poppy. I've added tiny bits of color by using the page to press against pages with wet paint - effectively removing the areas with too much paint and beginning the layering process on this background as well.

The last one is a compilation of things...

several different pathways, if you will.
The bottom layer consists of a light tan/brown acrylic wash. I stamped a couple of images, used masks on a couple, Shiva paint sticks on stencils, thermofax screens with watered down acrylic paint and made marks with a variety of sticks and different items.
You can't tell on this scan but it has amazing texture and little bits of color peeking through.

I'll keep working on the theme...slowing pecking away at that rock wall that is trying to hold my creative energy captive.
I'm hoping that this exercise (of talking about the pathways that I took on my sketchbook pages) will jump start my energy...
Hopefully I will be able to see a clear pathway back to that creative zone I was in just a month ago.
Make sure that you visit the Sketchbook Challenge blog - the June prizes are just fabulous!
Visit our generous sponsors and see what goodies they have!
Tell them that the Sketchbook Challenge artists sent you!

Textured Journal/Sketchbook Pages

I posted yesterday about adding texture to cheap canvas fabric to jazz it up a bit.

Today I'd like to address paper as a different substrate to use with your molding paste.

I almost always use the Exact Vellum Bristol paper (67 pound) paper from Wausau. I also use a 110 pound paper from the same company. I am constantly amazed at just how much abuse the 67 weight paper can take! I wet it, emboss it (thank you Nancy!), texturize it, paint it, write on it, sew on it and just generally love the heck out of it - and it still holds up!

Today this is what I have done so far.

I added a layer of light molding paste, using my fingertips and palate knife to add texture to it.

Let this dry completely.

I noticed that, on a couple of areas of the page I had added more molding paste than others areas, causing the page to become wavy. This doesn't always bother me in my sketchbooks/journals but this day it did.

So I grabbed another page of the same paper and stitched them together. I also stitched around each indiviual section of the folded page to add more interest. This would later prove to be a great design bonus.

I used my Golden Fluid Acrylic Paints to make a wash. I applied the first color in a very random manner. It really doesn't matter with the color combo that I used which one goes on first, as I went over the entire page a couple of times. In this example, I used Phthalo Blue(Green Shade) and Phthalo Green(Blue Shade). There are a couple of areas that you may be able to see a shimmery sheen on the front of the page. These areas have a little bit of a pearlescent liquid acrylic ink. The color is "waterfall green". Like I said, I like to use whatever is within reach on my studio table...

You can see the machine stitching on the page as well. I use the stitch as a drawing tool. It's not necessarily about the actual sewing process but the texture that the stitch provides for me.

Here is where the bonus of adding the stitch BEFORE painting comes in -

Look at how the paint has seeped through the holes made by the needle and thread! Isn't that a great look for the back of that page?!  I like it. 

I hope that I can remember this in the future and use it in a more conscious manner instead of accidently benefiting from it...

Although that is nice too!