TOO SUBTLE?

50/50 #41

This started as a gesso stamped tissue onto white paper then several light glazes were applied.  The pattern barely showed up.  I think if the watercolor paper had been painted with a darker color first, then the paper collaged over, the pattern would show up much more.  So these are the things you learn by making just one change in the procedure.  Each decision makes a difference in the result.  If you want a subtle effect, this is an interesting way to go.

AM I BLUE?

50/50 #40

The simplicity of this background doesn't compete with the drawing.  I like how this one came out.  The background papers on this piece comes from a very simple technique that produces great results.  I got the idea from Edward Betts bookMaster Class in Watermedia.  (around the top of my list of great books) where he paints brushstrokes through tissue onto watercolor paper.  The tissue blocks some of the paint giving an uneven stroke on the watercolor paper in a way that is impossible to get with a straight forward approach.  I save the tissue! (of course) and then I decided to drop some tissue onto the butcher's tray I was using as a palette  and lifted off the residue that was there.  You have to carefully lift it up and drape it over a chair back or something until it dries as wet tissue is very fragile.  Anyway, that's how you can get that blotchy look.  So many times our palette looks so much  more beautiful than the painting!  Now you can capture that beauty.  It also appeals to the frugal nature in some of use.  Nothing wasted!

HIDE AND SEEK!

50/50 #39

This was one of the most unusual backgrounds.  I wasn't sure if I wanted to put a drawing on top but it wasn't of any use to me without the drawing, so I took a chance.  I think it turned out alright.

There is a technique in Mary Todd Beam's second book where you take a piece of foil, paint it with black gesso, turn it over onto a piece of watercolor paper and draw on the back of the foil with a dull pencil, transferring black gesso lines onto the paper.  This background started with a saved piece of foil that had been used for that technique.  It has interesting silver lines where the gesso had been transferred.  Next I collaged some of my tissue paper that had been stenciled with white gesso hearts.  I decided to put a bronze metallic acrylic glaze over the piece to make it look antiqued.  Lastly I put the ink drawing on top.  I lucked out and the image worked okay with the background.  If it didn't, I would have ruined a special start.  Sometimes you just have to take a risk.  Ultimately, it's just a piece of paper.

GOING STARK RAVING MAD!

50/50 #38

I didn't post last night because I thought the battery had died in my computer.  Turns out I had a bad connection and everything is fine!  

Back to business....the title of this post refers to this poor soul who I photographed in Bordeaux.  The background is all Tyvek.  I tore up an unsuccessful painting and collaged it down with the painted sides up. The trick to tearing Tyvek is to make a small cut with a scissors, then pull it apart.    It needed some light areas so I turned some of the pieces of torn Tyvek over and added them to the mix.  The background was so "busy" that I kept the drawing simple.  

2 FOR THE PRICE OF 1

50/50 #36

I was caught up in the Olympics and forgot to post last night, so here are two more instead of one.

#36 is another aluminum foil painting.  There is a technique in the last book by Mary Todd Beam where you coat the dull side of aluminum foil with black gesso, turn it over onto a piece of watercolor paper and draw on the back, transferring the gesso lines.   It looks something like a woodcut.  My friend, Kathy Mitchell, has worked with this technique to great effect and does some stunning work.  I have tried it maybe 5 times with mixed results.  This piece of foil had gold gesso on it instead of black and I had saved it from the original project.  Never throw anything away!  After glueing it down, gesso side up, with gel medium, I collaged some tissue which had been stamped with archival brown ink.  It altered the surface is a very subtle way because the brown ink almost disappears into the gold background.   The ink drawing was applied in my usual manner.

50/50 #37

This background  uses a lace patterned washi paper.  On another panel, I scraped white gesso through the paper.  I then stuck this same lace paper down on this panel and covered it with heavy gloss gel.  The same washi paper created two very different surfaces.  After the gel medium was dry I glazed the surface with  wash of Cerulean Blue Acrylic.  It has a fairly slick surface which is reflected in the way the black line drawing is so fluid.  I used diluted black gesso for the drawing as I didn't think the ink would be permanent on such a plastic surface.

GOING FOR A METAL!

50/50 #35

This background has aluminum foil crushed and a brayer run over to flatten.  Glued down with heavy gloss gel.  The rest of the paper is covered with the same heavy gloss gel and then stamped .  Great surface to draw a wrinkled face.

NEWLY PUBLISHED!

50/50 #34

This is one of my favorite backgrounds.  I will be sure and use it again in a larger piece.  Naturally, I forgot to photograph it before I drew on top.  I am finding more and more that I have to take action immediately or the thought is gone and may never return.  It is a help with my procrastination tendencies but not always convenient.  

This background is various washi papers glued down with some torn Tyvek thrown in for good measure.  I painted the papers after they dried  then did the ink drawing on top with my Lizard's Lick #4 from Cheap Joe.  

I sent the book off into cyber space to be printed.  I hope the images bleed out to the edge as that is how I wanted it.  I am not sure that is how it will turn out.  There is a feature while you are creating the book that shows you what will get cut off so I sized each image to allow for that.  The preview of the book shows a white border around each image, which is not what I wanted.  I'll have to wait and see if I need to make any adjustments for future copies.  I plan to add some photos of the event in future copies but I couldn't wait to see a finished copy of the book.  Impatient as always!