As an added bonus with my purchase (and because she's such a sweetheart) she also sent me a pair of her ear-huggies! They are simple, ear-hugging designs that are comfortable to wear and so pretty! They cling right to the front of your earlobe and have small earwires that do not really show up when you're wearing them. Check them out, they are a really great idea!
Sunday, October 12, 2008
Friday, October 3, 2008
Wednesday, September 3, 2008
Monday, August 25, 2008
Wednesday, August 20, 2008
Monday, August 18, 2008
Saturday, August 16, 2008
Monday, August 11, 2008
Sunday, August 10, 2008
Sunday, August 3, 2008
Wednesday, June 18, 2008
Saturday, June 14, 2008
For my second installment of Artistic Media You May Have Never Heard Of, I have chosen embossed prints. A striking example of this medium is shown in the banner at the top of this blog. This medium comes under the category of printmaking because the image is transferred to the paper by running a plate of some sort through a press with a piece of damp paper. If you would like to read more about printmaking in general, please go to my lens on Squidoo entitled Printmaking in the Modern Era. While there are various methods for embossing an image into a piece of paper, this method allows you to emboss a permanent image cleanly, create a reproducible image many times, and even gives you the option of adding color to parts or all of the image at the same time. The paper used for this medium is specifically printmaking paper, I like Stonehenge or Rives BFK, because you want to have a fine art paper that can be soaked in water without curling or drying unevenly. This paper will be soaked thoroughly, excess water gently blotted off, and run trough the press with your plate or matrix.
The plate can be practically anything that can be safely run through a printing press. You can use an etched metal plate (the two koi fish in the banner at the top of the blog were created using a deeply etched zinc plate), a linoleum block plate (The Green Man featured in this article was carved out of a linoleum block), a collagraph plate, which is basically a collage of stuff (paper, plastic, found objects, lace, fishnet stockings) glued together to create texture and depth, or even just a simple flat layer of stiff board or flexible plastic (I once saw an embossed print of an angel where the plate had been cut out of a Pringles can lid!). The materials you use for your plate will determine several things: How many prints you will be able to make before your plate is no longer good, and what sort of control you have over the depth and detail of your image. Metal plates will last practically forever and make hundreds, if not thousands of prints, but the etching process requires a great deal of time and monitoring of the etch and the etched lines are decidedly sharp. Linoleum blocks are very versatile, easy to carve, and one can achieve subtle patterns and deep lines, but the force required to emboss the image is strong enough to destroy the plate after a few dozen prints. Plates created by a collagraphic process, where the 3D image is pieced together with found objects, is as versatile as you can make it, but the plate is only as strong as the materials that make up the plate, so it is this strength that determines how many prints can be created.
Whatever materials make up the plate, this method of embossing has the advantage of being rather permanent because of the quality of the printmaking paper. These beautiful papers will hold their images forever unless creased or bent, and make beautiful displays in shadow boxes.
Here are some embossed prints from my Etsy Shop to get you started!
Green Man, linoleum block print
fishy.fishy, a zinc plate etching
Coiled Snake Card, a handmade blank card printed from a linoleum block
Friday, June 6, 2008
I decided to start with a medium that was near and dear to my heart. This technique was invented in ancient times, was revived during the Renaissance by the great masters, and then revived again in more modern times by late 20th century artists such as Picasso and Joseph Stella.
Silverpoint (broadly referred to as Metalpoint) uses a thin silver wire (usually Fine Silver, which is 99.9% silver, or Sterling Silver, which is 97.5% silver) to draw very delicate, fine lines on a specially prepared surface. The technique is not limited to silver, as I have used 22K gold wire and pure copper wire, and in ancient times, lead, bronze and possibly other metals were used. This thin metal wire is usually wrapped with or around something so the artist can hold onto it better while drawing. Historically, the wire could be wrapped around a pencil or stick, allowing only the tip to extend out past the end. In my own experience, I use modern mechanical pencil holders, as they come ready to accommodate a variety of widths.
The specially prepared surface (support) can be virtually anything--canvas, wood, parchment--but is most commonly paper. Whichever support is chosen must then be treated with a primer to give the paper some "tooth" (grittiness). In ancient times, this primer was a mixture of binding agent (think something sticky--gum arabic, spit, other stuff that is even more nasty sounding) and white pigment (could be anything--ground up bone, chalk, ashes). In modern times, artists generally use common gesso, an acrylic-based primer. This painted surface can be sanded gently with very fine sandpaper to eliminate brushstrokes.
Once the artist has prepared a metal wire he or she can hold onto, and has a prepared surface, all that is left to do is start drawing. The fine lines on the page resemble the marks made by a very hard pencil, and must be built up gradually to reach the desired darkness. Generally, crosshatching, laying down many tiny parallel lines in different directions across one another, is the best way to create shading. These lines will be very silvery and even show a bit of metallic appearance at first, but over time, the metal will oxidize upon exposure to the open air and turn dark and a little brownish, as can be seen in Rembrandt's portrait of his wife at the top.
Newer metalpoint drawings will appear silvery or like they were drawn with a very hard pencil. The drawing at the right is an example of a metalpoint (silver and gold) that I made a few years ago. This drawing will probably take a long time to oxidize, as it is already framed under glass, and it currently hangs in my home, in the middle of the desert. The speed at which oxidation takes place can depend on all sorts of things, like moisture in the air, pollution, salty air. I have read about techniques to accelerate the process using dilute egg yolk solution, or an acidic solution, but have never tried any of them (so much work goes into a drawing, I can't stand the thought of ruining one).
So, the next question that comes to most people's minds is, if this technique looks so much like pencil drawing, why do it? There are a variety of good reasons. The fine lines you can obtain from this technique are much finer than those you can achieve with a pencil. Another huge advantage to the artist is that these fine lines won't smudge! (Well, okay, I've gotten them to smudge a tiny bit, but only on purpose.) Granted, because they don't smudge, lines are very difficult (but not impossible) to erase, but since most markings are built up from many small lines, you can make a few stray wrong marks with little harm. The final reason that I can think of is the durability of the medium. Drawings in metalpoint should last for at least as long as a pencil drawing, and the primer on the paper will help prevent the drawing from getting crumpled or bent.
So are you all ready to try it for yourself? Go to this great site to find all of the expert advice, detailed history, and even supplies you will need to get started!
Thursday, June 5, 2008
Off the top of my head, I've thought of embossed prints, silverpoint, encaustic, TTV photography, wire-wrapped jewelry and double-walled pottery. I'm sure there are many cool techniques out there that I haven't thought of, so if you happen upon my blog and don't see your cool medium of choice there, leave me a comment, and maybe I'll get to learn something new myself! Stay tuned!
Sunday, January 20, 2008
Saturday, January 19, 2008
The purple cat was never meant to be all that complicated, just a small blurb of an image with pretty colors and cat with an odd face.
He is for sale in my Etsy store both as a print and the original.
Friday, January 18, 2008
Thursday, January 17, 2008
I don't often create truly abstract images, they usually have some reference to something. This image was an attempt to create something truly abstract. It really doesn't have anything to do with anything, except that I thought of the title, "Brownian Paisley," which struck me as a nifty title, and drew the design from that. I love the idea of starting with something with structure, and then just injecting a left turn in one's thought process (I'd use the word "random," but as a scientist, I know that nothing is truly random, especially something created by humans, plus the word has been recently banished from use by Lake Superior State University as trite and horribly over- and misused.) Just the idea of trying to imitate the fractal patterns inherent in Brownian motion just with pencils and paper is a big part of what being an artist is all about--imitating nature, while at the same time, creating something that wasn't there before.
Wednesday, January 16, 2008
Tuesday, January 15, 2008
For now, it is available as individual cards in my shop, but I just found a cache of them in a storage box, so I will probably list them as a set of 5 or 6 as well.
Sunday, January 13, 2008
Saturday, January 12, 2008
Today's image was created using one of my favorite methods, embossed printmaking. It is really not just one method but a variety. The plate used to make the impression can be created by a variety of methods, including metal plate etching, woodblock or linoleum block carving, or plastic cutting and inscribing. This plate in particular was a zinc plate that I etched in stages to create variable, but very deep etched incisions. It was printed using an etching press set on fairly tight pressure, and printed onto wet Rives BFK printmaking paper. Once the print dries, it retains the pressed image perfectly.
This edition is one of several embossed prints I have created, but it is the only one using an etched metal plate. My other plates were all linoleum block prints, which works equally well, and you can achieve softer edges and higher detail.
Probably the most difficult task related to these types of prints is trying to get pictures that show the level of detail and depth of the image with my now-geriatric digital camera. This type of image is an example of something that is actually easier to photograph accurately with a film camera, because you have total control over depth of field and exposure.
Before anyone asks, you can't scan them either. The results are even more awful. I am hoping to sell enough artwork to be able to afford a high quality digital camera, but I have a ways to go.
If any of my dear readers would like to help me with this endeavor, come buy some artwork at my Etsy shop.
Friday, January 11, 2008
So, anyway, today's image is entitled "Sacred Heart--Cosmic Twist" and is available on my Etsy site. It is yet another colored pencil drawing that I started several years ago, only to leave it unfinished until recently. The funny part is that there was really only about 10% of the blue in the background left to do, and it took me about 30 minutes. I'm not sure what the image means, but, living in New Mexico, I am exposed to a lot of Latino Catholic artistic symbolism, as well as the history of splitting the atom, so I guess it just all came together like this in a grand, colorful object. Enjoy!
Tuesday, January 8, 2008
She is the first in a series of pencil drawings of seemingly ordinary people who live extraordinary lives, even if it's only in their own minds.
My next drawing in the series is going to be Sid the construction worker. What an imagination he has!
Gertrude is available as a 5" x 7" print in my Etsy shop here:
Monday, January 7, 2008
Sometimes I come up with a great idea for a piece of a picture, and then tell myself that I will fill in the missing areas once I get there. That strategy almost never works, but at least I'm challenging myself. The other thing about this piece is that, sometimes I come up with a great title for a piece before I've even created it, and then other times, the title eludes me forever, like this one, and I just go for some lame name like "The Seer." The aforementioned picture I'm working on doesn't have a title either, so I'll probably post it somewhere in order to solicit suggestions for a title. Stay tuned.
While the original of this image is not for sale, I am selling digital prints of it in my Etsy store, here.
Sunday, January 6, 2008
So maybe I didn't start with the first day of the year, but I've never done this before, so I figure it's better than nothing. For a few days, I'll have images of old artwork, but the cool thing about this idea is that, pretty soon, I better start making more art to post!!
Today's image is my "Heart in a Box" ACEO. I created it one day when my husband was out of town on business, and I started getting all mushy about true love and personal freedom. To me, true love means never being "captured" by another, but being surrounded, nurtured, and supported. I have much more freedom with my honey than I ever had alone, because there were too many things I was afraid to do on my own. In fact, my husband has gotten me into things I never thought I would ever enjoy, and I've done the same for him. He's got big dreams for the future, and, thanks to him, I'm building some new dreams of my own. Together we are much more than the sum of our parts.