Thoughts from the Studio

Still relishing my new studio space - it's a rare day indeed when I'm not out there for at least the better part of the morning. What I like best is that I seem to have successfully granted myself permission to play and learn while I create. Gone is the entirely self imposed expectation that everything I do must be 'good' - something, that if I chose to show other people, would not be embarrassing to me. It's been a long battle, that one, but so freeing to have achieved!

To set the stage, I usually have 3 or 4 pieces on the go at once, in varying stages of 'doneness'. This allows me to keep the creative flow going while I'm waiting for a layer to dry - yes, patience is a struggle and this really helps LOL.  I had already decided that yesterday was the right time for making 'the bold move' a la Tara Leaver's wise words. Then I decided to work with a colour that I don't normally use - a confident, bold orange created by mixing primary magenta with hansa yellow medium. 

I painted a ground of bright aqua green mixed with a smidge of phthalo blue. On this I outlined several circles of varying sizes that would then be painted orange. Of course, the orange over the aqua background dulled the colour down considerably so I needed to paint the circles white before they could be orange. Here the large circle is orange on top of aqua whereas the two smaller ones were painted white first, then orange. Not sure yet where this will end up!

While I was waiting for layers to dry I started eyeing some of the other pieces I had on the go and decided to spread the orange to them as well. Because this mixture is quite transparent, it acts more like a glaze enhancing the underlying work. It certainly breathed new life into one piece and showed potential for a whole new direction in another. I think I'll save that for another post though as this one has gone on long enough and it's time to head to the studio!

Update: threw some more paint at it and have left it here for now.

Major Change - New Studio Space

I've long held to the nagging suspicion that I was getting in my own way creatively - that the art within me was constrained by the space I had restricted myself to work in. So I decided to put myself to the test this spring. 

After researching as many viable options as I could think of I decided to move my art space from my desk in the front room out to the unused half of our garage. Bought an inexpensive rug to protect the concrete from spilled paint, had my favourite carpenter hang a sheet of painted plywood (with an added on ledge) on the wall, bought a portable 6 ft table and started moving my art supplies out there. A small investment in time and money to see whether or not I had been fooling myself.

 Best decision, Sue! I'm now 6 weeks into my new studio and have learned and played and created more over that time than I have in the previous 2 years. I love the physical 'stepping out' into my work space. I've already added some additional mobile storage and will plan on investing in a small portable heater when the time comes so that I can extend my studio time as late into the fall as possible. Also a rolling desk chair so the upholstered Queen Anne can be retired to the basement once again!

Between the side window and open doors, I'm happy with the amount of light. With the surrounding trees the studio stayed comfortable even through this most recent heat wave. 

The Pitfalls of Green Tape

I remember taking a watercolour workshop a number of years ago, in which the instructor made an adamant stipulation that we not bring coloured painter's tape to class - the standard masking tape or white tape was fine, but there was no tolerance for blue or green or any other colour of tape. At the time I hadn't been painting all that long so this struck me as a rather odd, individual quirk of this particular artist but hey, one that was easy enough to follow. As my painting experience has grown over the years, I have come to see the wisdom of his words but that lesson really hit home for me this week. 

I had been working on another free form piece that started out with purple as the dominant colour. White tape had been added to my list of needed supplies - primarily hoping for better adhesion and hence masking, than the green painter's tape I had been using up from my stash - but in setting this piece up I had used the green.

Once again my plan was to let the art dictate to me what to do, admittedly influenced by my purchase of the new-to-me phthalo turquoise. After working over several days, it just wasn't coming together and I finally decided to write off the loss and abandon it to my orphan drawer. 

But first, I had to strip the tape off. And wow, I was not prepared for just how much of a difference that made to the look. It's not the best thing I've ever done but neither is it the hot, unsalvageable mess I thought it was LOL. So, hats off to Joe F. and no more coloured tape for me!

Purple Koolaid (C) Susan Langdon aka Nukiart
mixed media and collage on 11 x 15 watercolour paper

My scanner cannot accommodate the width of this piece so there's a portion of the two smaller pieces missing from the right edge. I set this up with the intention of it being an all in one tryptych ie one frame for three complementary paintings, however I don't have the technical capability/tools to make that happen for posting here. Hell, I'm just happy when I can get the image to sit where I want it to LOL. 

Threadbare - a process post

This will be my first process post - providing I can get the blog to cooperate when I post the images, and that's a big IF. Well, I'm sure it has more to do with my abilities than the workings of the blog template LOL.

I have been challenging myself in recent days to just start a piece and let it dictate where it goes until the voice inside finally says 'it's done'. The only idea I have in the beginning is usually the colour palette I start out with. Over the past couple of weeks that has been complimentary colours - predominantly red with accents of green/blue etc. The piece here was to use an analagous scheme of blues, greens and greys. (My apologies for the poor lighting and the neon green painter's tape - it was what I had on hand.)

So I began with some scribbling of several shades of blue and green watercolour crayons and then added a scribble of charcoal to connect these areas. It was at this point that potential names for the piece came to me - you can see it there in the upper right hand on the tape - threadbare I or tapestry I. 

When I added water and pushed the colour around the page it faded much more than I expected it to. Up until now I had been using my Inktense blocks and this was my first run with watercolour crayons, so while it surprised me I was not unhappy with it and I learned something, always a bonus!

The next day, I decided to do something bold and declarative to see where my muse would take me. I drew in the bold black square with my extra wide Sharpie marker. Well, that was certainly an in your face bit of mark making LOL. I left a sliver of open space underneath which comes into play in the next stage. The square was coloured with cobalt green crayon and then wet and brushed into place. At this point some spattering of that same colour happened intentionally.

By this point, the green tape was a distraction and I was pretty sure I was done with my outside edges so I removed it. The piece needed something else to give it life so in comes pyrrole red to play with the teal. It joined the spattering crowd as well as the blob and the sliver under the square. My brain just laughs at all the technical jargon here. 

I was done for the day, but not sure the piece was done so I did what has always worked well for me and walked away. I just love how refreshing and helpful that approach is to really clarify what is missing. When I looked at it first thing the next morning I knew the weight of the black marker lines was waaaaay too heavy, so that needed to be fixed. I painted over most of the square with gesso, thinning the border lines to about half their previous width, then added the cobalt green back in. Much happier!

Threadbare (C) Susan Langdon aka Nukiart
Mixed media on 12 x 16 watercolour paper

By this point I'd decided to name it Threadbare and that led me to the final decision to paint a line of stitching down the right hand edge of the big square. Seeing it here, it really needs the white border around it but my scanner isn't big enough to capture that

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If this post were a dvd it would have a blooper reel LOL. Because I had used charcoal to draw the initial, thread like lines, I needed to 'fix' it in place so I decided to cover the entire piece with matte medium. I knew it would give a bit of fuzziness to the charcoal itself and I liked that idea. What I hadn't counted on was it smearing the ink of my signature really badly, so bad. I didn't want to abandon the piece so after letting it dry thoroughly I brought out the gesso again, covered the old signature up and redid that section again with much better results this time around. Another lesson learned on my journey as an artist LOL. 

Bold Colours for Grey Days

To say November weather this year was dull at best and outright gloomy at worst is being much too kind! It has definitely had an effect on my work though. I mean if I can't have colour in real life I can create my own. And I did.

Both started with a random charcoal scribble with only the dominant colour predetermined ahead of time. It was free wheeling from there LOL. My muse has taken to waking me in the middle of the night, much to my chagrin, with ideas for what to do next. It's better than not hearing from her at all though

Red- mixed media 8x8 on watercolour paper
(C) Susan Langdon aka Nukiart

Blue - mixed media 8x8 on watercolour paper
(C) Susan Langdon aka Nukiart

From this to That

Almost a month ago, I started an experiment. 

I wanted to do a painting starting from a given reference but then only use it as a jumping off point with no expectation of where the journey would end. Each day I would sit down with it and just go with whatever struck my fancy. 

To begin, I was inspired by an image that is part of Windows 10 library of images that appear rotationally on my lockscreen. It is of an iconic tree, in a lake near the mountains in New Zealand. I wasn't wedded to my rendering of it and that was tremendously freeing for me.

I started with charcoal and added colour with Inktense blocks on 12 x 16 Arches HP paper. The second day involved throwing a lot of gesso around as a veil, then adding back some random marks with charcoal. Some days I would work on it for only 15 minutes or so, other days there would be a lot more contemplation involved. I worked on it daily for about a week and then life intervened and my creative voice went quiet for a spell. 

When I took it up again, I still had no idea where it would end up but distance told me it needed some life put into it and so I glazed the whole thing with green gold and that really seemed to bring things into focus. It still took a few more days but then suddenly and very quietly I knew it was finished. I've never felt more like an artist than I did in that exact moment. 

I won't bore you with the in between and quite frankly ugly bits but here is the beginning and the end. I will definitely be doing this again.

"Underneath a Tree"  mixed media on 12 x 16 HP paper
(C) Susan Langdon aka Nukiart

Autumn is Upon Us

The calendar may say Fall but the weather certainly hasn't quite gotten the message yet. We've had cold weather to the point that I've turned my fireplace on and the yearly maintenance for the furnace has been done, but the humidity right now outside is reading midsummer! Only one more day to go and then things will cool off to whatever is supposed to pass for normal now.

Okay, on to the art! Experimentation is definitely where my head is at these days. After long resisting the idea of an art journal - a physical one - I have set one up. It's not my go to place by any means but I think I can make it work for me. (I won't bore you here with the details of why I've resisted this for so long because well, it's just flat out boring)

I thought long and hard a couple months back about taking Tara Leaver's Abstractify course but the timing didn't work out as my August was filled with other things. I decided when she offered it again in the new year then I would sign up*. BUT this month I am doing her Expressive Charcoal online course. I can't say enough fantastic things about her approach to all of this - she's definitely a kindred spirit. 

Anyway, here is a sampling of some of the things I've done so far. They're from my phone so the lighting is horrible, apologies.  The bottom two are self explanatory but the top one is part of the magic! It started as an exercise: on a big sheet of cheap paper, close your eyes and draw a favourite place. That was a no brainer for me so I drew the big perennial garden on the far side of the pond and circled around to do the outline of the house. Took a lot of imagination to see it when I opened my eyes LOL.

Next step, cut the paper in two sections and tape it back together in an interesting way.Now, start adding lines, marks, shapes whatever your brain tells you to. Thick lines, thin ones, smudging wherever you feel like. Just play with it. Now cut it again and retape it. And this is what I ended up with. I see an abstract headless nude figure! What I don't see is any evidence of a pond, garden or house LOL and that is the beauty of it. It delights me so much I think I"m going to frame it!

* note to self. Don't forget!

Lean on Me

Lean on Me - 8 x 10 mixed media
on 300lb CP wattercolour paper
(C) Susan Langdon aka NUKIART

My sister Kate sent me this charming photo of her friend's dogs Louis and Wilbur a short time ago and asked me if I thought I could paint it. Given that their personalities seem to pour off the page I was eager to give it a go. Sadly, her friend's mother died unexpectedly within a few days of Kate's request; I was even more motivated to do this picture justice.

I took my time, mentally sorting out how I wanted to approach it and then began it last weekend. I had to verbally remind myself to slow down and let the watercolour bits work their magic. My own impatience is often where things go wrong for me with this medium LOL. 

Bit by bit it came together and I am so pleased with the final results. It is scanned, signed and packaged ready to be delivered to its new owner next week. 

Learning From Others

I do like doing studies of other artists' work. I find an image that appeals to me and then try and dissect how they achieved it. Sometimes it works out and I'm pleased with the results and I file the technique away in my mental toolbox. Even when it doesn't work out, I usually learn something valuable along the way or maybe go off on a completely different tangent. It's similar to mixing colours for me - I see a hue I like and then try to see if I can replicate it using what I have. 

That's what prompted this little study. I had seen the image on p interest and was immediately drawn to the bold colours and clean lines. First thing I learned - drawing precision and perspective is key! It's really not noticeable to my eye here on screen but in my hand I can see the left side of the biggest house is not quite right.

Study of Cathy Horvath's Fall Lodge Folk Art

I decided to start out in my usual comfort zone of working small, my natural inclination, so this was drawn on 5 x 7 watercolour 140 lb paper. I don't have much experience with, nor confidence in, my ability to handle reflections so that was my first worry. I decided to include them in the initial drawing, that way I wouldn't get it all drawn and painted and then screw it up with horrible water lines LOL.

I then decided I much preferred the square format so I taped it off at 5 x 5 inches. The colour was added using water soluble markers - some full strength, some watered down before applying. Yes, if you look really closely you will see some small blooms where impatience got the best of me sigh.

I don't think I will try another one but if I did I might choose to work in acrylics.  

Hibernation is Over

It's not that it's been a horrible winter per se - it just feels that it went on forever! This is partly due to a 2 week period mid February where we had spring like temperatures, total absence of snow and the return of the robins. We couldn't be faulted for feeling like maybe, just maybe Spring was coming early.

Well, HAH! said Mother Nature. Fooled ya! And that she certainly did. We've had an ice storm of late and as recently as 4 days ago awoke to fresh snow on the ground. But I think, finally, that we can put Winter behind us. Fingers crossed! 

So, during my period of hibernation, literally nothing artistic happened. I had set this dark time aside in order to devote myself to researching my family tree. Don't know if you've ever explored your own but I will tell you that it requires a lot of dedicated focus. My left brain just sings doing this kind of work and becomes a bit of a brain hog about it. Now, I know myself well enough to accept this and move forward with it. But once Spring came, it was move over LB because your creative counterpart is all rested up and ready to play. 

I was inspired by Tara Leaver's most recent 7 day mini series challenge. I have long resisted painting the same thing over and over again and I don't really have a good reason for why, just innate stubbornness. So confronting something I usually avoid seemed like a good place to start. 

I would use the same photo reference and create a new piece each day using a different medium. Pencil, water soluble ink, charcoal, chalk pastels, watercolour, mixed media and collage. There was - to my mind anyway - an organic progression to this process. The drawing became easier each day I did it; I developed my values before moving into colour. Each day seemed to build on the previous ones. 

I had never worked with chalk pastels before so that was a first for me. This last one bottom right was intended to be just acrylic but after I gessoed the paper I started playing with whatever I felt like so it ended up being a combo of Inktense blocks, Sharpie pen, water soluble markers and acrylic paint. It was also done with a bright yellow underpainting beneath everything but the blue and purple berries. 

Not surprisingly, there is something about each piece I like but no one favourite. And yes, there are only 6 images here. These were done on 5 x 7 cold pressed paper and when it came time to do the collage I found the small size quite restrictive so that one will have to wait for now. 

Okay, enough for now. I have some pieces from my orphan drawer to play with next.