Gearing up to power through the rest of the semester


I now have my final two Studio projects in-progress.  I think that it will be…really nice.  One project in particular is based on stenciling, kind of a Graphic Art-type project.  I’ve begun blocking out my areas of color already — in the final presentation I should have black + white + two intermediate greys.  I get to work on this tomorrow!  I’m kind of psyched.  (I almost worked on it instead of posting here, but felt the need to write.)

The process of blocking out differing areas of color really…causes me to make decisions on-the-fly as to what to include and what to leave blank.  I’m thinking that I’ll use a light grey background with two different darker tones, plus areas of white.  I was just introduced to the joy of white Sharpies yesterday.  Pretty cool.

I realized some time after we began working on these yesterday that we were supposed to divide our photos into different tones on our huge prints of these.  That was supposed to be what the Sharpies (black) and white chalk were supposed to be used for.  Imagine my confusion when I tried to mark on my acetate with white pastel and found it didn’t work.  I mean, absolutely didn’t work.  No grip, no mark.  Then what were we supposed to do with these?  I didn’t know until I looked at what some of the less-prepped students were doing (that is, the people without all their materials) — they were using the white chalk on the printouts.  Something to be said for taking it slower, eh?

I will also have to work on a composition for the reverse side — the theme is “shoes.”  I’m planning on using the shoes that look like combat boots but have a wide stacked heel.  I do like them, even though they’re hard to get my foot into and don’t have enough padding in them to take my standing in them for nine hours.

Then there is ink drawing for my Figure Drawing class.  I wasn’t doing really great at it until my prof suggested blocking in the entire figure with water or a very light wash, and then adding details.  Once I started working like that, it was much easier and I was much more successful.  I need to work on using a full range of tones from lightest gray to black, though.  I was hesitant on using the deeper tones, even though I did realize — today — that the pieces with the deeper shades were more…gravitational, I guess.  This is even though I thought I was screwing them up in the process.

One of my brushes — my Mao Little Ying — is also on its last legs.  I found when I tried to use it that the bamboo handle is split nearly the entire length of the brush on two sides.  I’m not sure if I left it resting in a puddle of water, or what — though I do know now that I probably really should hang them to dry, if not just taking most of the water out of them before putting them away.

The only things holding that brush together are the end cap on one side and a piece of string, on the other.  I really did like that brush.  I suppose I can go tomorrow and see if there are any comparable brushes at the one smaller store I do visit.  Or…I suppose I could try Japantown.  Not that I really want to take a trip over there at this point in the semester…bridge tolls plus parking and all that, though I suppose it is also actually almost the beginning of next month.

I also realized yesterday that I actually needed far less ink for my sumi drawings than I thought I did.  This means I can conserve some, I guess?  I’m not sure if I should get a glass eyedropper from Whole Foods or something, or keep using the disposable ones.  (The water cups at school smell like mold, I’ve found — now that I know that the smell of the clay in my high school Ceramics class was probably mold…)

Today was supposed to be my next-to-final presentation in Art History, but it was put off until next week.  I’m a little torn as to whether to continue to work on it.  At the least, I can find a better source than Wikipedia for my opening comments, and I should have the time to do it, now.

So, there is that Art History presentation to give, and then it’s just our Final assignments and that Final presentation!  I have three more weeks to go.  I can do this.


Sis’s necklace, part 3

Just a note here to say that I can embellish the loops around the beads with rows of those little gold 11/0 seed beads I found.  Not necessarily picots, more like netting.  Hopefully soon I can get some photos of my experiments…

Sis’s Necklace, part 2

I was cruising around the “macrame” tag on here and found a lot of inspiration.  I have a better idea of what I want to do now for Sis’s necklace.  For my own peace of mind I will make it without the goal of being paid in my thoughts.

I remembered how easy the Snake knot was for me — I’m thinking of doing this with different colored cords and two colors of size 6 seed beads, which match the pendant.  I can’t find the sheet of paper with the relevant dimensions, but I think she wanted it 16″ long.  I’ll make two parts which can be connected to the pendant with chain and/or jump rings, and just knot it off at the other end in a clamshell bead tip or something, if I can’t get the knot small enough.

Yay!  At least I’ll enjoy doing this!  (and this is after wondering how people can spend so much of their life knitting…maybe for them it is like me with knotting…)

Sis’s necklace

So my sister-in-law gave me a pendant some months ago for which she wanted a necklace made.  I had been hesitant to take this on for pay, as I am still not certain of the legalities of selling beadwork which was made using known and/or public domain thread paths.  Now that I write it out, I do realize that a thread path is different than a pattern or design…kind of?

Anyhow, I’ve been avoiding it.  But tonight I got up and took another look at the pendant, and went and matched it with some beads I have in multiple sizes.  I don’t have much time before the window to give this to her in person will close, and I’ve got three weeks of hell coming up where it comes to Art History, in particular (I was absent, freaking out about my Studio assignments, and missed out on the chance to give my final presentation during Finals week).

Though I do suppose that I don’t entirely need to get a great grade in that class, anyway (it’s not even an elective for my Certificate).  The only real issue is my fee waiver and whether that will remain in effect if I get a poor grade…which would be rather stupid, because I’ve been doing more work for that class than a number of people.  And actually,  maybe I should be preparing just to make it through the next several weeks and preserve my grade, rather than try and actually learn the material and get a poor grade.


My book rental expires a week after classes end, so it may be very likely that I’ll miss the Renaissance, Mannerism, and Baroque information, even though I did attend the lecture yesterday.  I suppose it isn’t hard to find information on that if you know what you’re looking for, though.

And really, all I have to do is give this presentation next week, and complete the final paper and project.  I just am not sure how much background information from the surrounding eras I’ll need in order to do so.

There are a number of pressures on my time.  Family stress is ramping up and won’t be over until at least the end of the semester.  The only reason I’ve been able to be so relaxed recently is that I de-prioritized Art History in favor of my Studio classes.  I should check the syllabus, really, and see how things are graded; maybe it isn’t as bad as I think.  I should also try and read the section of the book I’ll have to present on in a week, at least.  I might be able to do research on it tomorrow or the day after.

Sounds like a plan…

Yeah, now I understand why my friend was living off of Spaghetti-O’s…

Okay, so the art projects can be expensive.  I just went out today and collected everything I didn’t have, and needed, for my final two projects.  It wouldn’t have been so bad, except that there is a kind of startup cost, where basic materials are being collected (like cutting mats), and incidental costs for things that I want to try but could probably live without.

Like Payne’s Gray acrylic paint…though I’m sure Prof would say that Payne’s Gray is actually essential.  😉

I was actually able to find 5 mil acetate at a plastics store.  (I love that plastics store!)  I realized, once there, what happened — Prof had mistakenly written that the acetate should be 5 mm instead of 5 mil thick, so…those are very different units which are spelled similarly.  5 mil is a sturdy film; 5 mm is closer to 1/4″.  It was relatively expensive — I got eight square feet, which ran me about $16, but this is a much lower cost than buying a pad of acetate of the wrong size (or roll of acetate which I don’t immediately need) for $55.

Critique of the self-portrait happened today.  I will need to work on that for next Tuesday.  I didn’t realize that I could add in paint mixed with matte glazing medium in order to dilute the color but not fade out the hue, as happens when a hue like Burnt Sienna is mixed with Titanium White…or it could intensify it, when it comes to lightening a tone with yellow.  I didn’t even think of trying Zinc White (a more transparent white than Titanium) until after I got home.  Nor did I realize at any time before today that this is actually what matte glazing medium is meant to be used for.

But yeah — I think I’ll need to go back to the photograph in order to figure out some points which were not addressed in my preparatory drawing, and even out some skin tones, plus add some cooler deeper tones (Payne’s Gray + possibly violet or blue, in thin glazes) to the face.  Particularly the cheek, jaw, neck, lips need to be worked on.  Prof would like the hair to be different — right now it’s straight Dioxazine Purple (as I used for the shadows) with gel medium, and could be softened with some of the other colors in the portrait.  Right now I’m even thinking of mixing the ultra matte gel medium with the gloss gel medium and seeing what I get (ultra matte has a luster like broken chalk; gloss has a luster like glass), but that might be a bit…unpredictable.  I should test it out, first.

I’ve got more to say, but I’ll put it in another post.

Soft pastel plus acrylic media on acrylic supports?

I was over on createarteveryday’s most recent post, where the author was talking about experimenting with media, and I had a flash of illumination.

I have just realized that instead of doing an underpainting in pastel and then adding paint on top of it, I can do a drawing in pastel on gessoed Hardbord and then go over it with acrylic medium, to turn the pastel into paint.  When acrylic medium is added to dry chalk pastel, the colors seem to turn more vibrant, with better covering power.

I don’t know if it will work with all the colors — I’ve only tried it with a Sienna and Umber, plus what I was trying to underpaint in before I realized it was a waste of time, but it’s something to think about for the future!  The main drawback to using pastel on an acrylic support is that if I’m using stretched canvas, it’s a bit springy.  But I don’t have to use stretched canvas, at all.

*kermit dance*

Expressive Portrait, done!

Yus.  Done with the Expressive Portrait!  Though I kind of look like a homeless dude lit by a campfire.

Maybe it’s just the hoodie.  Probably…

As I mentioned earlier, I’m not planning to post images of this one, though I can post about experiences.  It was my first time working with gel medium and palette knives — for a beginner, the plastic ones were fine.  I have yet to see how long that gel is going to take to dry…I’m planning on taking in both the painting and the original study on newsprint.  I think I’ll get a good grade on this one, but just as importantly — or maybe moreso — I got a decent response out of myself without overworking myself, and on time.

That was after spending $50 and about an hour at the art supply store in preparation for the next project.  Yes yes.  I know.  Earth Day, special sales.  By the way, happy Earth Day.  🙂  I totally didn’t know, until it came on TV.

I did pass up a tube of Payne’s Grey, today.  I probably should have gotten it — it wasn’t expensive.  It’s an earthtone, a dark blue-grey which is really pretty.  I could have used it to mix shadows (it probably would have ended up a more neutral tone when combined with most of the other earthtones I have, save Raw Umber), but ended up using Ivory Black instead.  Ivory Black is a warm-toned black — it leans more brown than blue — also known as Bone Black.

This is in contrast to Mars Black (which I have a lot of), which is a very cold black.  Ivory Black is bone charcoal; Mars Black is an iron oxide.  I want to use the two together in some kind of work influenced by Chinese brush paintings.  It’s really interesting when they’re seen side by side, because they really obviously are two different colors of black, then.  If I were totally going for authenticity (not going to happen), I might want to use watercolors, but acrylics are kind of cool, too; they just have really different working properties.

But yes yes.  Painting is going to be a new hobby, I can tell.  I kind of fell in love with the Blick soft pastels when I was pushed to use them, this last time, though all I was doing was drawing and moving the pigment around with my fingers and blending stomps.  Like Prof said, it’s a good middle ground between drawing and painting…and by this I think she is referring to painting as working with areas of color, as versus line.

She also said during the last critique, though, that pastels — their binder is gum arabic.  This means that if they get wet with water, the gum may dissolve and adhere the pigment to the paper on drying, though she also said she hasn’t gotten it to work well, yet.  I’m thinking of trying a fixative I know of which is relatively high-maintenance, but is nontoxic and can be used indoors.  This is after having used the Krylon stuff.

The advantage of the Krylon is that it doesn’t seem to warp pastel paper at all.  The disadvantage is the toxicity and fire hazard, which can lead some people (like me) to try and avoid using pastels at all because of the fact that they’re so fragile and need sealant that I don’t want to use.  That’s what happened on my last major drawing (the white on black, on which, I ended up using the white Drawing Pencil, because I didn’t think I’d have time to put another coat of fixative on it).

But — the portrait study I did is very — I mean, it’s really nice.  It’s not photorealistic, but it’s still nice…and I wasn’t able to replicate what I did in the pastel, in acrylics.  Either I’m just not skilled enough yet (very probable), or there is just something about the pastel medium that allows such deep color mixing that it can only be approximated in acrylic paint (also likely).

I did the study on newsprint and didn’t realize it then, but I think that when I make art with no attachment as to whether the final product turns out “good” or not (and what is “good”?), I make much better art.  I’ve connected this with the “Mindfulness” tangent that I’ve worked with before.  There are some media which require seemingly continual alertness, just like meditation or martial arts.  Working without an attachment to the end product is really pretty Zen.  You’re working just to experience the working.

When I was finishing my portrait on the canvas today, I realized that what I needed to do to get to work on it was give myself permission not to be perfect in my execution, and to be open to the possibility of making something which wouldn’t live up to my standards.  Last semester our prof (a different prof) was telling us that engaging with the process was the important part, not coming out with a masterpiece every time.  It’s kind of actually nice to have teachers who have struggled with some of these key issues (perfectionism, fear of engagement) themselves, you know?

I’ve got to go back to the home improvement store to get another plywood panel; while I’m there, I should get some dust masks to use against nuisance dusts — as the pastels I will be using are AP Nontoxic.  I know they’ll have the 3M brand, there, which I trust more than the generic knock-offs I sometimes find at art and craft stores.  I suppose I can also take a look and see if they have organics cartridges for respirators, just in case I don’t get the milk-casein fixative and have to spray that stuff again…I can only hold my breath for so long.

There’s also a plastics store I can go to, to try and find huge sheets of acetate for our next project…though I’m thinking the gauge on the handout was a typo.  I’ll ask about it tomorrow.