Tuesday, April 22, 2014
It was a beautiful day in St. Louis today and that definitely was the inspiration for my latest piece of art. I chose to mount this piece on black glossy and a dull mustard yellow in card format, but this piece easily could be framed or mounted on cradled birch with the sides painted. At the very heart of this process is a melding of a resist technique I've been sharing around the country since 2000. I still love it because the results are imperfect and surprising every time. I was very excited with the advent of the Ultimate Red Rubber Palette. It makes doing this technique on a larger scale so very easy. Today I used the 8" x 10" inch palette. But, truth be told, I had to have them both!
I got out a few products to start my studio play. As you can see, it really doesn't take much once you have a vision. For media, I have four bottles of Adirondack reinkers in oregano, wild plum, stonewashed, and butterscotch, a bottle of the Ranger Watermark Resist Ink, Titan Buff and Bronze Golden Fluid Acrylics, and a black StazOn pad.
I began working on the palette by adding resist ink in a thick horizontal stripe, and a few dots about an inch up from the solid stripe. I saw this composition as a scene, so I added some stonewashed around the resist dots. Below the stripe I added a thin line of oregano and then added some dots of wild plum and butterscotch in the same area.
Once I had enough ink, and a little goes a long way, I lightly spritzed a cosmetic sponge with a tiny bit of water, and then pounced the sponge starting at the top left to top right and then proceeding below the resist ink, again left to right. The oregano and butterscotch, and wild plum below will mingle a bit, and that's fine. They will then create new colors!
Once your ink is spread to the coverage you would like, you can then make a print with a piece of glossy paper. I used a 2.75" x 8.5" piece of Kromekote. (***** asked and answered in class hundreds of times: No, photo paper will not work. Inks are not meant to move on it and we need them to move in this technique.) Place the paper down and press evenly.
I like to pull up a corner and see what coverage I will have before completely lifting. That's my choice, but you can always re-dip if you don't like the print, want to add more ink, etc. Notice the striations and the area that resisted the ink. I am liking this a lot.
I almost always pull a second and sometimes third print and save them. As I said, a little ink goes a long way. Here's my second print:
If you look closely, you can see the variegation you get from using the plate and just a hint of water to spread the dye inks. At this point, I take a gently used cosmetic sponge and move some of the ink that is still wet around to blend. I don't want to totally lose the dotted nature of the print, but I do want to tint some of the negative space created by the resist ink. Not all of it, just some.
Once the inks are where I want them and I am satisfied, I heat the rest of the ink so that it stays put when the next layers commence. I am skipping the obligatory heat tool picture. Use your imagination. I then stamped the spiral star five times on the same glossy paper using stonewashed and cut them out so that I could have some dimensional texture.
Once cut, I used black StazOn and the checkered ribbon to create ribbons to hold these stars up in my sky. I then affixed the five stars with Scor-Tape and moved on to the landscape. Here I began by using the zen flowers stamp, black StazOn and a torn piece of paper as a mask. I followed the natural color change in the landscape to create hills and valleys.
I had a little challenge come up next: Obscured in the picture on the left, I added a tree using tree leaves (on right), which is actually a reverse image stamp. I was able to use this stamp by taking a medium sized Sharpie to the inner lines of the stamp. (Normally the tree would be produced by the ink that is on the flat portion of the stamp.) It worked like a charm, but you must work quickly because of the dry time.
The rest of the composition came together with some bits and bobs. The picture above shows me further delineating the landscape with a permanent pen. It also will act as a separation from fragments that I had stamped just before that. Fragments is from one of my new plates from my own stamp line at Nancy Curry Art. It's so hot off the press that it hasn't even made my Etsy shop yet. Later, this week and that's a promise.
The picture below shows the completed project. I added some interest by taking Golden Fluid Acrylic paint in bronze and titan buff to the landscape by mimicking the shape of the zen flowers. I also added some bronze to the tree and to the centers of the stars. Once finished with that textural layer of paint, I cut a slightly larger piece of black glossy and affixed the composition to it. Before adding the top sections to the final yellow cardstock, I brought out the imagery from the sky ribbons by stamping it so it seemed to flow beneath the scene. To me, fragments is the perfect title for this piece of work because there are so many separate areas that come together and make this work. Thanks for visiting a little part of my vision of the RubberMoon world.