Trust in a Smile

Normally I keep my posts about The Golden Moth Illumination Deck in my other blog, The Golden Moth. But because this post also concerns my art-life, I'm reposting it here.

I don't usually pull cards for myself. I used to quite often, but I found that in the past I relied too heavily on the cards and not enough on my self. The cards are a tool to access the self, but it can turn unhealthy when they start replacing trust in your own feelings and judgement. On the rare occasion when I have wanted a reading, I like to go to another reader for advice who can be more objective than I can be.

But I've had the nagging feeling that I should pull some cards and see what comes up, and today I did. My reading was done on my art desk, and you can see some evidence of art-making in progress. I've been doing a lot of wondering and analyzing in the past couple months about this almost constant anxiety I have in my day-to-day life. One of the greatest sources of anxiety at the moment is my solo art show coming up in June. I don't have much time to create new artwork, yet not only am I trying to create all new pieces for the show, I'm also using a medium which is a bit more unfamiliar to me - printmaking on fabric. The processes alone are time consuming, and I've already spent a couple months just doing research about techniques and styles of fiber art - quilting in particular. It has been really fun to learn about and work in a new medium, but also daunting. I am also working part-time and teaching. I know many people who have schedules far more demanding than mine, but I am perpetually anxious about whether I can do it all. I have always preferred a more slow, relaxed pace to life but the demands of earning a somewhat stable income while also creating artwork make that difficult. I had the last couple of days off from work and thought I'd get a lot done, but I had a lot of trouble focusing due to the pressure I put on myself as well as feeling not quite sure about which step to take next in my art process.

I asked the cards for advice about how to manage all my duties and my life leading up to the art show.

The first card represents "The Past," and shows a bell ringing out. I took that to signify my feelings of alarm, a bell call letting me know that I needed to start focusing on my art show. It may also symbolize the need for communication through my art - this is my time to sing out and express myself. The second card represents "The Present," and shows a flower growing out of the flames. I think this card means that I am going through a "trial by fire" in terms of managing my workload and creative processes. I think it's a time when I am being tested, or testing myself, to show that I can emerge from this period of intensity shining brightly and transformed by the flames. I've always thought of this as the "alchemy" card. The next card, #17, represents my "Challenge or Goal." Again, this is an image of great intensity showing a lightening bolt striking open an egg. I feel this shows outside forces (the art show, my teaching and work duties) coming in and cracking me open like an eggshell. While this split is sudden and forceful, perhaps it is telling me that it's time to get out of my shell right now, to accept all that is going on. Underneath that card is #37 showing my "Internal Influence" - my feelings. I feel like that traveller, staring up at vast mountains and wondering how I'm going to cross. I guess a more positive view of this is that I am an adventurer about to scale mountains. Maybe it's daunting, but at the same time exciting. At the top of this column is the card representing my "External Influence." It shows a figure under a bridge with two faces. When I created this card, I always thought of this figure as the god Janus. From Wikipedia:

In ancient Roman religion and myth, Janus (Latin: IANVS) is the god of beginnings and transitions,^[1] thence also of gates, doors, passages, endings and time. He is usually depicted as having two faces, since he looks to the future and to the past. The Romans named the month of January (Ianuarius) in his honor.

At first glance, I thought this card showed an element of busy-ness. The figure seemed to be looking back and forth rapidly, constantly switching from one thing to another (for me - my various obligations, as well as the switch from research to concepts to actual art-making.) But I think this card also represents the theme of my art show. I am creating works based on a specific time and place, a small town in Northern New Mexico that I visited five years ago. It was an experience very close to my heart, and something I've struggled to adequately express through words and images ever since. I think the card shows that this show is important to me because it is a way for me to look back at the past, ahead to my future (I'm hoping to continue this series of images and use the images to apply for arts grants) as well as the bridging of the two. This is something I've thought consciously about as I create the work, how I'm using new processes that I would not have used 5 years ago, and how my thoughts and experiences since that time have influenced how I look at those memories now.

Moving on to the advice cards, the "Release" card shows a figure holding the sun, moon, and stars in one hand. I think this card has to do with control. I need to release the need to control my universe. I need to let things flow as they will. The card above it is the "Accept" card and shows a snake slithering over a hill. I think this card is telling me to get over that hump, to just proceed steadily and keep low to the earth. I think that at times I get lost in thought and speculation, and I really just need to keep working and not worry so much. I think this card is also poking fun at my "Internal Influence" card that showed vast mountains. Perhaps I'm making mountains out of molehills at times, and need to just keep a steady pace and stick to what's in front of me- one step, or slither, at a time. Card #34 shows a house on fire. I was not scared of that card. It signified my "Possible Outcome" and I thought of it as a card of purification, of "cleaning house." It seems significant that I have so many cards with the element of fire in them - the flower in the flame, the lightening bolt, and now this burning house. It made me remember that for me, the artwork I'm creating is very personal and getting it in the open is a form of catharsis for me. Maybe this means I will experience intense emotions, perhaps intensified anxiety, but I think in the end it is all for the best. Card #47 shows "Further Possibilities" and it confirms my feelings that the process I'm going through now is a way to bring my memories full circle, as much as memories can come full circle. The plants in this card go through a cycle of death and rebirth. There's more to the story of what these memories mean to me, but I'd like to keep some of it private. But I will say that these memories are a joyful beginning to a road that also led through much pain, and I think that the celebration of these memories will help me to release that pain.

The last two cards in the upper right are the "Theme" cards for my reading. Card #36 flipped out of my deck while shuffling so I set it aside. It shows a boy with a sack, travelling light-heartedly. Card #15 shows a woman smiling. I think that both of these cards show that I need to relax and enjoy the process, that everything will work out and be okay. I can get so caught up in worrying and planning for the future. Every so often I will experience a moment where there is this incredible emptiness in my brain. It happens so rarely that it is immediately noticeable. This emptiness is saying "Nothing is wrong. There is nothing to worry about right now." That sounds kind of crazy, but I have an almost constant low-level anxiety that fills my thoughts and makes me worry about what I have to worry about next! I've been observing these thought processes, and I realize that it's not about what actually pops up in my life. It's about my state of mind. I know I need to find a way to relax and feel okay with life, but it is very hard for me to do. I've been like this for as long as I can remember. Maybe I should carry around the card with the smiling woman. Her face is very reassuring. Every time I panic that I don't have the energy or capacity to do what I need to, I need to pull the card out, take a deep breath, and trust in her smile.

Collagraph Techniques

As you might've read in this post I'm having a ball trying out different printing techniques in collagraph printing. Here is a step-by-step process of some of the techniques I've been using to make images like these:

Below are my finished plates. Some are colored differently than others depending on what color cardstock I had on hand, and some have been printed already so contain some ink residue on the surface. Making the plates is simple but does require time, planning, and some gusto with the razor blade and scissors. After planning out your image, take a piece of cardstock and start cutting your design. Glue the pieces to another piece of cardstock.  I like to use a different color for my backing cardstock to contrast the cut-out designs that I glue onto it so it's easier to see. Then I apply a coat of acrylic medium on the front and back sides to seal everything nicely so it's easier for me to keep re-using the plates. But you don't have to seal it.

I decided to combine an art-making opportunity with collagraphs. I will be in the upcoming book "Mail Me Art: Short and Sweet," as part of the Mail Me Art project. Each participating artist had to create an envelope with the back side decorated and send it to England through the post. It's a bit faint, but you can see that I measured lines that will be folded to make the envelope. I also composed my cut-out shapes and traced a light outline so I knew where I was going to place each shape when I was ready to print.

I used a cardstock stencil and rolled up ink directly onto the paper to create some background color for my shapes. This is a technique I was inspired to do by one of my collagraph workshop participants, Sarah Watson!

And here are the finished background colors. For some of them I didn't use a stencil, but just used my brayer to apply color in the outlines I had drawn.

Next I inked up all my collagraph shapes. By the way, I figured out the right colors after a few hours of experimentation. Here is my messy workspace!

And the inked up shapes. The moon is a lovely silver color.

I placed my printing paper onto the etching press, and then arranged the shapes on top of my paper.

Here are the back sides of the shapes. They have blue ink all over the edges because... well, you'll see why. I used these shapes several times so they have lots of ink residue on them. Notice that my rabbit is right up against the paper, and the house sits on top. This way, the rabbit's paw printed fully, and the house printed in the background. I ran the shapes through the etching press so the ink transfers onto the paper.

After the shapes are printed, I leave them on top of the paper *suspense!* There is another step I want to add: I take my brayer and roll blue ink around the outside of the shapes onto the paper. I like the texture they make.

Here it is after I've brayed all around my image area. I used the edge of my brayer carefully against the sides of the cardboard shapes to get very close.

And now, the moment has arrived: I pull the cardstock shapes away and VOILA! A magical rabbit leaping to the moon. Only the middle part of this image will be seen on the envelope, which is why I didn't bother coloring the entire thing.

And here are three other variations that I made on the way to getting this one image just right! There were even more of them than I'm showing here.

I will write about the creation of the Mail Me Art envelope in another post. Hope you've enjoyed this one!

Cardstock Collagraph Workshop

Last Saturday, I led a Cardstock Collagraph workshop at Studio Two Three, a community printmaking space in Richmond, VA. I taught this technique of printmaking to art teachers of Richmond Public Schools last Fall and the teachers created some amazing work, too.

This technique of printmaking is super simple, but can produce very awesome results. Making a cardstock collagraph is basically cutting out designs in cardstock and gluing them to another piece of cardstock. You can cut out the shape and rearrange it, print backgrounds, print multiple times, change the colors, etc. Having the opportunity to teach this class again and experimenting with it made me realize that it's even more creative and fun than I first thought, and the simplicity of making the plates freed me to be more spontaneous with it than I usually am with, say, linocut printing. I also learned a lot about different techniques to try from the participants in the workshop - just one of the perks of being a teacher. Students in the class were very creative and really jumped right into it. They created some amazing stuff! Sorry that I can't credit every print with the artist's name, but I did  when I knew the name of the person who made it. Take a look!

 I created the grassy background for this one, and a student used it as the backdrop for her Alice in Wonderland rabbit! Next to this print, Chris Pool worked on a simple and elegant design for a vase of pussywillows.

Here you can see how artist Sarah Watson used the same grassy backdrop for her flying fish garden. Love the surreal image! Local jeweler Kim Young did the skunk/hummingbird/dewdrop-boy print, and experimented with changing around the positions of each of these delightfully unrelated (yet somehow fitting) images.

 This kite print is so powerful!

 Elegant elephant.

 That rabbit again (and again, and again.)

 

More elephant love by Emily Yeatts!

I will be doing a follow-up post showing step-by-step how I create a collagraph print. Keep a look out!

Children's Book Dummies

It has been awhile since I've posted. The winter has slowed me down, but I've also been keeping busy. I started an online course back in January called "Illustrating Books for Children" with Joy Chu, art director, awesome teacher, and author of the blog Got Story Countdown. I just finished my last assignment, a 32-page dummy. For those who don't know, a dummy is a mock-up or "sketch" version of a picture book. Joy emphasized that we keep our drawings very simple because this stage of illustration is used to work out the important storytelling and to establish character, composition, sequencing, pacing, and readability. That last part is harder than it seems - there were times when I didn't question that what I was depicting was obvious, but then found out that someone was confused by it. Very important to get right!

I'm keeping this post brief because I'm feeling tired today (still recovering from staying up till 4 in the morning to complete the last assignment!), but here is some of the work I produced for the class. Each of the assignments was based off a pre-existing story, but modified or changed in some way to make the story our own. At first I was hoping to write my own original stories (the closest to that was my last assignment), but I realized it was a good thing we weren't trying to work on the writing and illustration at the same time. That would have been too much! Also, the emphasis was on being able to convey a story for the most part wordlessly, without relying on text as a crutch to explain what was going on. enjoy these little snippets, and I'll be back with more detailed descriptions later! You may also view all of my work for the class here.

Linocut Surgery and Other Procedures

As a printmaker, I constantly have to make decisions about my artwork in terms of concept, composition, color, and technical printing issues. Sometimes the solutions to the challenges presented are simple, and some a little more involved. Here are some examples of ways I had to figure things out using my latest prints as an example.

#1: Figuring out color and masking out part of an image.

I made my editions "Ecdysis I" and "Ecdysis II" using a new technique for making images and choosing colors. I got the idea from the artist Mariann Johansen-Ellis. She has lots of informative printmaking videos on her website, including the technique of Lino Mix and Match. I started out making a few different background patterns that I printed in many different colors, sometimes printing more than one on top of each other.

Then I created my carving of a snake, and printed it over the background patterns. Because of this experimental approach, I decided I would print two different editions using the different background patterns because I really liked two in particular (pictured below: the two prints on the left.)

 But, I decided I didn't like the way the carving texture looked around the snake (see below). It was distracting, in my opinion. I decided to mask out the texture using a piece of newsprint.

I took a piece of newsprint that I had already printed the snake on, and used it as a guide for cutting out the areas I wanted to mask. 

 I inked up the plate as usual and placed it on the etching press.

Then I flipped the newsprint over and placed it on top of the areas I didn't want to print (the blue lines on the newsprint are from another test proof I had made on that side of the paper).

 After I had printed onto my final paper, I removed the newsprint mask so I could re-ink the plate and repeat the process for the next print. You can see how the paper caught the ink below.

The finished prints!

Lesson Learned: Sometimes you can find your way to the best colors by experimenting instead of planning it out ahead of time. And my newsprint mask was a pretty simple solution and I will use it again.

#2: How to perform linocut surgery.

Sometimes when I am carving a print, I am just not happy with something I've carved. Such situations are tricky, because it is hard to "fix" something you've already carved away. But here is a solution that is much like "linocut surgery." Warning - I do not recommend this unless you are patient and have a very steady hand.

So here is my plate. Just as I was almost finished with carving, I realized that the thumb on the left hand is much too small in comparison to the other fingers. I was annoyed with myself because this was something I should have caught during the drawing phase, not when I was in the middle of carving. Oh well, these things happen.

I put a piece of tracing paper over the area and drew in the new thumb. Then I cut it out and placed it over the plate.

Okay, so I ended up having to make several thumbs because I couldn't get it exactly right. But I'll spare you the details and tell you what I would do next time: First, using a razor blade, cut out the area you want to re-carve. Make sure it is in an area that will more easily blend in with the rest of the carving.

Use the cut-out piece as a template for your new piece. Trace it onto another piece of linoleum. I find it helpful to carve around the outline leaving some extra leeway (it is always easier to carve away if it is too big), then use scissors to cut it out. Then I place the piece over the cut-out area in my linoleum plate and check it. If it's too big in areas, I cut it down bit by bit with a razor. This stage is important, because you want it to fit in the missing area as snugly as possible.

Here is the new piece that I fit into the plate. It is black because after several attempts, I used a scrap piece of linoleum that was already inked on the surface. Then I placed my tracing paper drawing over the thumb and transferred the details (the thumbnail and creases) using yellow transfer paper. I then carved the new thumb.

The finished carving! I haven't printed this one yet. I also need to carve a second plate because it will be a two-color print. In the past when I've printed linocuts that have had surgery, I have to be more attentive when inking and printing. Sometimes the new piece will pop up a little higher than the rest of the plate, or print a little lower. I hope that this one goes well!

Lesson Learned: Linocut surgery can be tricky, but worth it if you are patient and have a steady hand! Best to make sure you are happy with your drawing before transferring it to your plate, to avoid such complicated procedures.


Challenge #3 - What do you do when you're not totally happy with your final print?

Here is a version of my print "Terrarium." It might be hard to see, but this print has a "salty" look (the ink coverage is thinner, making more of the white paper underneath show through), and the color of the soil is an orangeish-brown. Also, there are horizontal lines over the green-striped background. Whenever I print an edition, I proof, or test, my prints by mixing up different colors and printing on different papers. But sometimes I think I like something prematurely. Making a linocut is different than making a painting because I create the image before knowing exactly what color it will be, or before knowing what my imagined color will look like exactly on the paper. When I experiment in the printing studio, it can sometimes be a shock to see the image in color. It can take awhile to adjust to what I imagined the print would look like. But I choose a final color scheme and then I become so engrossed in the printing process and getting each print to look similar that I don't question the visual choices I've made.

In this print, I wanted a sort of vintage look to the color scheme and printing. But after I had printed about 40 prints and brought them home, I showed my boyfriend the final print and some of the proof variations I had made. There was a proof that used a more vibrant reddish-brown ink and was printed with a thicker layer of ink than the edition I had just printed. He said he liked it better. This agonized me immensely, because I actually liked it better too. The other prints just looked flat and faded in comparison. After a day or two of worrying that I was being too picky or perfectionistic, I decided I would reprint the entire edition because I didn't think the print did my image justice. So I did it. It wasn't that bad. And since I was going to reprint it anyway, I decided to remove some of the brown horizontal lines from the green-striped background so it would look a little cleaner. Here is a print from the new edition:

Lesson learned: Proof at least one day in advance of editioning, so I can come back to the studio with fresh eyes and be more confident about the choices I've made the day before - or decide I want to change them.

So there you have it, the way one printmaker finds solutions to some of those fun little printmaking challenges. You may decide to do things differently - the way you solve art "problems" is what makes you  unique as an artist!

New Prints & Sprout Head Sale - Hurrah for 2012

To help kick off the holiday season and my new linocut prints, I am starting early with a SALE in my online shop, Sprout Head! Use Coupon Code HURRAH2012 upon checkout to receive 10% off your entire order! Sale runs from Friday, November 16 - Monday, November 26. The first 10 orders over $10 (not including shipping) that use coupon code will receive the zine "We Carry Each Other" for free with your purchase! IMPORTANT: You MUST use the coupon code or else you will not receive the discount or bonus zine.

Art Workshop Schedule for Winter-Spring 2013

Now you can keep up to date on all my course offerings by clicking on the Art Classes tab at the top of my blog!
 
Here is the list of art workshops and classes I'm offering this Winter-Spring 2013 season at The Visual Arts Center of Richmond and the Virginia Museum of Fine Arts Studio School. Click on the name of the workshop to be directed to the course page and/or a link to online registration.

The Visual Arts Center of Richmond

1812 West Main Street, Richmond, VA 23220

(804) 353-0094

You may register for classes online or by phone.

VMFA Studio School

2911-15 Grove Avenue (across from VMFA)

at the corner of Sheppard Street, Richmond, VA 23220

(804) 367-0816

For Spring classes, mail-in registration begins Jan 2 and phone-in registration begins Jan 22.
Note that Fall students are given the opportunity to register early. Find detailed registration info here.

Gelatin Printmaking Postcard Workshop

Beginners

Saturday, January 26
12 – 4 pm

at The Visual Arts Center of Richmond

Create one-of-a-kind postcards using gelatin slabs as your printing surface. Experiment in a no-mistakes atmosphere, working with hand-cut stencils and found objects such as lace, string, and leaves to create colorful patterns and texture. Then make a simple book structure to store your prints. Have fun with this loose, surprising approach to printmaking. All materials will be provided.

Linocuts – Exploring Color and Pattern

All Levels

6 Wednesdays
January 30 – March 6
6:30 – 9 pm

at The Visual Arts Center of Richmond

Discover the fun of printing in color using a spontaneous approach. Carve a few background patterns to print in different colors and combinations, and then print a strong final image on top to bring it all together. Learn the basics of design, carving, printing, and paper selection. All tools and materials will be provided for the first class, but you may need to bring your own papers for subsequent classes.

Dream Book Workshop

All levels

2 Saturdays

February 16 & 23

10 – 4 pm each day

at the VMFA Studio School

Image Coming Soon!

Experiment with printmaking, bookbinding, and the written word in a fun, no-pressure atmosphere. Using dreams as inspiration and with guidance from the instructor, students make monotypes, collages, and found poetry using words cut from old books.

Paper Bead Jewelry Workshop

Beginners

Saturday, March 2

10 – 4 pm

at the VMFA Studio School

This workshop teaches you to create fun and funky jewelry from decorative and recycled papers, such as magazines, newspapers, and wallpaper. Simply cut paper into strips and roll it into beads or experiment with some simple techniques for origami jewelry. Using yarn, thread, beads, and vintage buttons, students assemble their creations into necklaces, earrings, and bracelets. Tools and materials for simple beading provided. If you want to get fancy, bring your own findings, accent beads, and wire.

Printmaking Lab – Independent Projects

Intermediate

4 Thursdays
April 4 – 25
6:30 – 9 pm

at The Visual Arts Center of Richmond

If you have prior experience with printmaking methods produced on the etching press, such as linocut, collagraph and monotype, this is your opportunity to carve out some work time, receive artistic and technical input, and experiment with new ideas. Demonstrations will be provided according to the needs of students. Some materials and tools provided.

Zine Sampler: Creative Self-Publishing

Beginners 

2 Saturdays
April 20 & 27
12 – 4 pm, each day

at The Visual Arts Center of Richmond

Creativity + everyday materials + photocopier = ZINE! A zine is like a magazine, but its content is only limited by your imagination. We’ll experiment with several exercises – some silly, some serious – merging art and writing to jog the mind and fill the pages. We’ll discuss how to generate content, design pages, and produce and distribute zines. You’ll leave with a copy of a collaborative zine and ideas for starting your next one!