Autumn Glow

I have not been doing a great job of keeping up with Life Book lessons and, as such, my mixed media skills are getting a tad rusty.  A quieter weekend than usual afforded me the opportunity to tackle the most recent lesson.  I took the concept of that lesson and put my own spin on it.  I have been doing a lot of drawing lately – for my extended Inktober and the Brooklyn Art Library Sketchbook Project – so the drawing that underpinned this piece was actually really strong.  I am, therefore, frustrated that I completely lost the quality of that drawing as I layered media on top of it.  It proves the point, however, that I have allowed that particular skill set to rust up.  Still, as disappointing as the outcome is to me, I enjoyed spending a decent ration of time sitting at my art table this weekend.

45a - Autumn Glow

45b - Autumn Glow

 

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Lilac Dusk

I have had an exhausting week, physically and mentally.  Being crazily busy is my norm but this week has been beyond the norm.  I almost fell asleep on the sofa one afternoon.  Whenever everyday life gets a bit overwhelming, I know I have to try and scratch out some art time as a way to find balance and decompress.  That is why I decided to tackle this week’s Life Book lesson.  This week’s lesson was taken by Annie Hamman.  I have viewed and responded to a few art lessons taken by Hamman by this stage in my exploration of mixed media and I decided some time ago that her style of painting, her technique, was not something that was going to work for me.  I want to hone and develop my own style of art, after all, so pushing myself to try a mode of painting that prevents me from achieving that goal makes no sense.  I, therefore, pick and choose elements from the lesson that I can utilise for pushing my own creativity while ignoring the aspects like layering paint with a palette knife.

When I thought of a figure who was serene and peaceful, I thought of one whose arms were crossed because she was not busy doing something.  Hands at rest.  In my busy week, idle hands would definitely be a luxury.  The female figure I painted ended up looking a bit huffy because of the pose but that doesn’t matter to me because I know what made me choose that position for the hands.  I tried to keep the colour palette light and pale to suggest calm.  The finished piece makes me think of my Twilight Garden painting from last year.  I take that as a good sign that I am developing my own style – or at least one of many of my styles.

38 - Lilac Dusk

While my art time is limited, I am still beavering away with my Brooklyn Art Library Sketchbook project, approaching the half-way mark.  You can see what I am up to on my other blog and on Instagram.

Protective Pod

Last week’s Life Book lesson was taken by Connie Solera.  It was a bit too “art as therapy” for my personal taste but I was inspired by the imagery of the painting Solera demonstrated and decided to create my own twist on the idea, moulding the lesson to fit my own style.  There are many layers in this mixed media painting, more layers than I typically work with, but I enjoyed switching between the chaotic looseness of the background and the more tight illustration of the female figure curled up inside a pod shape in the centre, even if it probably makes the piece visually unbalanced.

36 - Protective Pod

Frida Kahlo Portrait

This week there were two Life Book lessons.  I only had time available to tackle one of them so I opted to respond to the lesson taken by Tamara Laporte which involved creating a mixed media portrait of Frida Kahlo.  I am absolutely not a portraitist.  I cannot capture people’s likenesses accurately at all.  The idea of even attempting to portray someone as immediately recognisable as Frida Kahlo was pretty intimidating but that was precisely why I decided to dive in and give it a try: growth through challenge.

Frida Kahlo seems to be pretty zeitgeisty at the moment.  I am seeing lots of homages and merchandise here and there.  I confess I am not a massive fan of Kahlo’s art.  I appreciate it and recognise its worth but it just doesn’t speak to me in the same way that the work of other artists does.  I actually find her more inspirational as a person than I do as an artist.  As such, I didn’t have an immediate idea of how to portray her.  I flicked through some photographs of her and scribbled down some ideas and sketches – the hair style, the daring clothing that emphasised her female sexuality, the use of bold colours.  All of those found their way into my finished piece.  Laporte had incorporated a parrot into her portrait of Kahlo and I took that idea and turned it into a parrot wing.  I had also thought I would add some big jungle leaf shapes into the background, a feature I noted in several of Kahlo’s self-portrait, but in the end I decided that it would all get a bit too busy and let it be.

35 - Frida Kahlo

I am not sure how I feel about this piece yet.  I think I need to give it some time before I make a judgement about its successes and flaws.  My husband, who has a minimal interest in the history of art, immediately recognised this as being a portrait of Frida Kahlo, however, so at least I must have somewhat met the challenge of painting a passable likeness.

 

Abstract Layers

As someone who is really into illustration, I very much struggle with creating abstract art.  That was precisely why I pushed myself to actually do this week’s Life Book lesson, which was taken by Jodi Ohl.  I find that I now enjoy the process of working in an abstract method, of layering and mark-making, of using colour and texture rather than shape and form.  However, because I have no real feel or instinct for it, I never know when I am “done” with a piece.  My impulse is to add some sort of representational element to provide the piece with a focal point but often, when I have done so, I regret it because it doesn’t cohere.  I worked on this piece gradually over the course of three days, adding bits and pieces whenever time was available to do so.  Each time I returned to my art table to work on it, I had a sense that it needed more and had an idea of what to add – some dribble here, a few marks there – but then I reached a point where I didn’t know what to add.  Did that mean it was complete?  Or did it simply mean that my well of inspiration had run dry for this piece?  Or was I just fed up of working on this piece and wanting to move on to something new?  Any or all of the above?  I decided this piece was done.  Maybe I will circle back to it at some point and add something; probably I won’t.

32 - Abstract Layers

Skeleton Bear

There were two lessons last week for Life Book, one taken by Whitney Freya and one by Samie Harding.  There was absolutely no way I was going to find time to tackle two different lessons.  I thought I would choose to work on the one that appealed most to me but, in actual fact, neither really chimed with me enough to stand out.  One was abstract and one was very “art therapy” in its approach and neither of those things really inspires my creativity.  I almost decided not to work on Life Book for the second week in a row but then I had an idea: I could combine the lessons.  I could use some of the approaches from the abstract lesson to create a background and could use the concept of a totem animal from the other lesson as a jumping off point for the subject matter.  Of course, being me, I had to put my own twist on things and – as such – I turned my bear into a silhouette contain a skeleton.  You wouldn’t know it to look at it, but I did have a quick google to have a photo reference for the bear’s skull.  I actually had a lot of fun creating this painting so I am glad I found the mojo and the time to actually work on Life Book after all.

30 - Skeleton Bear

Night and Day

This week’s Art Journal Adventure prompt was “opposites”.  I ran through a lot of ideas in my head before choosing to depict Night and Day as female figures.  This was something I had tried before in my Rainbow Art Journal but I had not been satisfied with the result.  This was an opportunity to revisit the subject and hopefully accomplish a better outcome.  Whereas before I had worked across two pages, this time I confined the composition to a single page.  To further enhance the concept of opposites, I placed the figures top to tail as I knew I had liked that composition when I used it in my most recent Red Riding Hood page.

To create a bit more visual interest to the page, I adhered some collage materials as a first layer and ensured that those still showed through subsequent layers in places.  While the composition and colour scheme places the Night and Day figures in opposition to each other, I also wanted to connect them, because they are cyclical, so I drew their hair swirling into the sector of the other and had the metallic dots sweep across the diagonal dividing line in places.

30a - Night and Day - Art Journal Page

30b - Night and Day - Art Journal Page.jpg

30c - Night and Day - Art Journal Page.jpg

30d - Night and Day - Art Journal Page.jpg