This page is another example of me cannibalising my own work and seeing if I can regurgitate it in a different way or using a different media. The basis for this page is an ink and watercolour illustration I produced as part of a challenge to produce 100 faces. I decided to attempt reproducing the face but using mixed media. The orange background has photographed a little brighter than it actually is. In reality it is closer to an apricot hue, hence me titling this page “peaches and cream” for the contrast between that orange shade and the white disc that frames the head. I also kept the skin tones quite pale which means she could be said to have a peaches and cream complexion.
I had not done much in my Rainbow Art Journal since March so I decided to use some free time to start and finish a page in one sitting. I turned to a blank page in the orange sector, got out some orange drawing ink and some black India ink, a pot of water, and got to work. My intention had been to keep things loose because that is something I find to be challenging. I started out well and it is possible to detect the areas where I let the ink puddle and run and dribble. I struggle with abstraction because I don’t know how to balance the elements and create focus so I decided I would carve a figure out of the ink. Of course, inevitably, I ended up with a too tight illustration as a result. Fail! Ugh. Maybe I should just give up trying to work in a loose, uninhibited, less intentional way.
This art journal page was really an exploration of ways to create visual texture. My inspiration was a painting I did for Life Book last year because I like the visual imagery of flame and ash. I actually thought to take progress shots of this art journal page so I can show the different stages of its creation. I started with a really simple line drawing.
To create the background texture, I scraped some orange paint onto the page with an old hotel room card. I then used that same card to lift up some of the paint from the page so that it created some texture, sort of feathering and ripples. To create the texture on the torso, I painted it black and then layered some red paint over the top. Before the red paint had fully dried, I pressed down some damp paper onto the surface so that it lifted up some of the paint and created a visual texture that I hoped would be reminiscent of charring.
The final element of visual texture was my old friend spatter. I spattered some black and red paint to create the idea of ash and embers floating upwards from the flames.
I liked the effect of all of the techniques I used in this page. It might be a bit much that I used them all at once but maybe it works for my thematic purposes. I am definitely pleased that the finished page still resembles my initial sketch as that has not always been the case.
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.
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.
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.
Last week’s Life Book lesson was taken by Andrea Gomoll and was all about painting a figure who was caught between an area of darkness and an area of light. The medium was primarily watercolour, which I always enjoy working with. I decided to place my figure in the centre of the paper with her hair flowing upwards to create a clear dividing line between the dark area and the light area. I enjoyed letting the paint in those background areas bleed into one another and create blooms. I built the flesh tones up gradually, using a neutral palette first and then layering the stronger colours on top, dividing the face between the cool blues of the dark side and the warm yellows and pinks of the light side. I possibly should have gone more dramatic with the shading and lighting on the face. I grounded the piece by painting black into the torso area of the figure and then tried to make the background and the figure cohere by adding spatter in white and black watercolour.
One of the reasons I enjoy participating in Life Book is that it exposes me to different techniques, media, and approaches I may not have stumbled across or thought of one my own. This lesson with Jamie Dougherty was one such example. Had I not watched the video, I may never have thought to turn ash into paint. You can see the ash layer was used in the torso of the figure I painted. The whole idea of taking ash and turning it into something new suggested the flame colour palette for the rest of the piece. I am actually really pleased with how this piece turned out. I have managed to find a comfortable balance between my illustrative style and using mixed media techniques. It just feels quite “me”. I may not use ash in my art work again (aside from the messiness, it had my kids turning into pyromaniacs) but I am now inspired to think about other things I might be able to transform into paint.