Finding ways to use up the leftover ink from the workshop
Absorbent Ho Sho paper left overnight in inky water after the workshop so that the colour wicks up the paper.
Trying various ways of using up leftover ink from the workshop on Wednesday
Trying different ways of using up the ink that was left at the end of the workshop yesterday.
I have thoroughly enjoyed my stay here at the Basement Gallery and feel really quite sad that this is my penultimate day. This morning I gave an artist talk – which turned into more of a conversation between friends so my nervousness quickly faded away 🙂 I pulled out all my materials, pens, brushes, papers, inks, display folders, workbooks and samples from the workshop yesterday so my work desk in the gallery looked like a bomb had gone off! It didn’t take too long to clear up afterwards and it was totally worth it. It’s always rewarding to talk to people who understand when I get excited about leaving paper overnight in the jar of used water loaded with ink to see what I get the following day.
The exhibition is open from 10am to 4pm 24 November so if you haven’t visited yet and would like to then this is your last chance!
The results from leaving Japanese paper in inky water overnight and then laid flat to dry.
Rolled Japanese paper sitting in inky water left at the end of the workshop. This was given an occasional “swirl” and then left overnight before being laid flat to dry.
Secret Cove was inspired by a 2011 news item about whaling.
The Gallery Manager (Mathew) here at The Basement Gallery has put all my works from Reef – A Fine LIne on their website as an online catalogue. There is still time to see the exhibition “for real” as the exhibition runs until 4pm on Friday 24th. I am giving an artist talk on Thursday 23 at 10am so if you would like to meet me and ask questions about my work please come along – I’d love to meet you and explain my techniques, materials, inspiration and discuss what it’s like to be an emerging artist. The exhibition comprises drawings, embroidery, textile jewellery and collage – all related to the reef theme. Oh, and don’t forget that I am giving a short drawing workshop tomorrow morning (which you need to book for by emailing firstname.lastname@example.org )
Pen and ink drawing titled Seaweed 005. Used as the promo image for Reef – A Fine Line solo exhibition
I will be running another pen and ink workshop at the basement gallery from 10am to 1pm on Tuesday 21 November 2017. To register go to their facebook event page or email them on email@example.com The cost is $20, payable on the day.
We’ll look at the properties of different papers so that you know which papers I use, and why. I will demonstrate how I have drawn some of my images and talk about why I use particular pens. Then I will show you which acrylic inks I prefer, and talk about how they differ from other media such as watercolours, I will bring my brushes and pens for you to use, and will supply the inks for use in class so you can get a “feel” for them. Oxlades (at 49 Guthrie St, Osborne Park WA 6017) stock everything used in this class so if you decide you need some for yourself it would be worth visiting them.
The exhibition finishes on Friday 24 November. On Thursday 23rd I will be giving an artist talk starting at 10am (or just after) if you are interested in my inspiration, process or have any questions about the works.
Sometimes everything comes together to create an opportunity you just cannot pass up. That’s how come I am having a solo exhibition next week….
A friend noticed a Facebook post by The Basement Gallery asking for emerging artists who might be interested in holding an exhibition in their new premises (241 Hay Street, Subiaco) to attend an open viewing time. We both went along to find out more on behalf of a newly formed group that may be interested in exhibiting together – possibly next year. The gallery and associated Pop Creative graphics design are run by volunteers (mostly uni students) to gain work experience in the arts. During our discussions with the volunteer gallery curator we learned that there was a vacancy in November. We knew the group would not be ready by then (we haven’t even had our first meeting yet!) and I realised I already had enough work with a reef theme to fill the space. I have lots of pen and ink drawings, some collages and several textile pieces – all inspired by coral reefs and their inhabitants. I submitted the application and paid the hire fee so I will be exhibiting Mon 13 Nov to Fri 17 Nov and Mon 20 Nov to Fri 24 Nov (open weekdays only 10-4, closed weekends).
This is the invite to my first solo exhibition “Reef – A Fine Line”
The invitation to my solo exhibition “Reef – A Fine Line” at the Basement Gallery, 241 Hay St, Subiaco, Western Australia.
Jolly Gerbera Series, drawing number 01 of 18 by Liz Arnold, July 2014
I’m EXCITED to have my work for sale in The Artisan Store Fremantle.
I have a glass cube and a glass shelf quite close to the window. Currently in the cube I have several hair barrettes and a bracelet made using Japanese seed beads. Also in the cube are 2 ceremonial bowls (made by recycling tea bags).
On the glass shelf I have a small easel with Jolly Gerbera #1 (of a series of 18 unique drawings) waiting for a new home. These are all framed by a professional framer here in Ellenbrook with a 20mm plain white frame so are ready to hang (ideal Christmas present for someone special). There is only room on the shelf for one at a time so if you see another one that you would like please contact The Artisan Store Fremantle. Once the one on display is sold they will put another one on the shelf. There are not many left now.
About the Jolly Gerbera Series
The Jolly Gerbera series was part of our MELD exhibition in 2014 and was very popular. My artist statement for the series was:
Gerberas. Jolly Gerberas. Their “essence” is vibrant, colourful, happy. Each one is a miniature natural mandala for meditation and contemplation with the power to transform my mood. These drawings attempt to preserve the “essence of Gerbera”. Pen drawing using archival pigmented ink on 185gsm smooth Arches watercolour paper. Coloured with archival pigmented acrylic inks. Sakura Pigma Micron black pen. Schmincke Aero colour Professional Finest Acrylic Ink and Art Spectrum Artists’ Pigmented Ink. Drawings were begun in March 2014 and series completed in July 2014. Each drawing 18cm square (30cm w x 30cm h including frame).
Keywords: flower, bright, circle, mandala, symmetry, gerbera, daisy, abstract, modern
Inspiration comes from the strangest of places. With all the printing I’ve been doing lately there have been quite a few painted baby wipes created by the clean up process. They are quite colourful and semi transparent so there were some interesting effects when I layered them (another thing worth collecting!).
The 6″ canvas’s in progress. I’m debating the colour of the embellishments but I like the backgrounds I have created by layering clean up cloths (baby wipes)
They are a non-woven fabric similar to dressmakers interfacing so they can be stitched. They tear easily in one direction only. I have used those to make a background for the Fibres West donation pieces, on which I will stitch some embellishment in red. I haven’t yet decided which red to use – a more muted Indian Oxide type red to match the muted blue, or a bright “popping” Cadmium Scarlet. I’m going to paint the ribbon and the cardboard circles and then stitch them in place. I am thinking about the finishing process while I do all this.
Some more painted paper results. Various papers scrunched and painted with dilute acrylics (Yellow Oxide and Cadmium Scarlet).
Painted paper experiments for collage. Various papers: brown Kraft, white 80gsm and 70gsm bond, light engineering drawing, bank layout, tissue, light cartridge and handmade Chinese. All chosen because they were acid free. January 2015
The detail shot is Chinese handmade paper which was laid over some plastic which had some interesting-looking dried paint on it.
I deliberately chose a colour from the opposite side of the colour wheel so that the paint marks would show up clearly if they transferred. So now I’m creating a stash of plastic with interesting dried paint on it as well! 🙂
For my second attempt I took some of the prints from my first session and added a second layer. I’m not so keen on the multi-coloured patchwork effect which seems to be the predominant way to use the Gelli plate as I find them very busy in general. Some people seem to carry this off with aplomb but I’m sure my efforts will look more like “a bomb” (has gone off) than “aplomb”.
This print has too much contrast for my liking so I decided to try overprinting it.
I want to see if I can produce simple, well-composed images within the confines of the Gelli plate with only a few pulls (say up to 5) which then need minimal “tweaking” to finalise them. I’m envisioning a few well-placed stitches, collaged paper scraps or brush strokes to accentuate focal points will be all that is required to complete them.
I see the patchwork happening when I cut up the less satisfying prints to create collages.
I created a printing plate from printing foam by pushing the blunt end of a skewer into it to create an all over dots pattern. I used this in 2 ways – to put ink (acrylic paint) onto the Gelli Plate – and as an indirect printing plate by taking paint off of the Gelli Plate.
I used a bamboo skewer to push holes into some polystyrene foam. The foam was used to remove paint from the printing plate. This print is from the printing plate. The print from the foam isn’t shown.
The second photo has no white because the ink was applied to the Gelli plate first and then the foam printing plate was used to remove paint from the Gelli plate. Where there is contact some paint is removed (giving a lighter colour) and where there is no contact the paint is unchanged (and therefore darker). A paper print pulled from this has no white showing.
This is a previous print which had a lot of contrast (very white circles on a dark blue background) overprinted with the ghost (second pull without adding more ink) image of another print.
The third photo shows a previous print which had a lot of contrast (very white circles on a dark blue background) overprinted with the ghost (second pull without adding more ink) image of the print in the second photo.
The layering of images and the density of the ink will take me some time to master I think – my vision of “simple, well-composed images within the confines of the Gelli plate with only a few pulls (say up to 5) which then need minimal “tweaking” to finalise them” could be a long time coming 🙂
I put in a request to the resident handyman (Edgar – my Father in Law) to build me a more substantial and useful version of a standing station for my art room.
This is the standing station that my FIL Edgar built for me based on the measurements I took from the temporary version. It doubles as a drying rack. Brilliant! 🙂
You can see the temporary version featured in my previous post here. I already had 2 tables at which I could sit and paint/draw but I figured I could only sit at one at a time – so why not make the second table into a standing station?
This is the permanent version – and it’s brilliant! I usually paint A4 or A3 size papers, but by allowing for an A2-sheet-plus-a-bit I ended up with shelves which can take twice the number of papers that used to fit on the available floor space – and I don’t have to keep dodging around them worrying about leaving painted footprints all round the house. The shelves are completely removable so I can use them to carry the wet artwork around easily too.
It’s very sturdy and just perfect for my needs. The tables have not been altered at all so if I ever need to use both tables together I can easily move the standing station elsewhere temporarily. This is one of the best birthday presents I’ve ever had 🙂
I used this set up as a standing station for months. I used the stack of plastic box, upside down ironing board and drawing board to get exactly the right height for working whilst standing up. For me that is 38cm above the desk top.
I’ve known for a long time that alternating between sitting and standing to work has lots of health benefits over sitting for all work. So I rigged up a temporary standing station and have been using it for months – changing the items in the stack until I found the perfect height. The height of this plastic box/ironing board, drawing board stack has worked perfectly although the board on the top is a bit wobbly – especially if I lean on it too far towards the back or the front edges.
I measured the total height from the top of the table to the top of the drawing board (for me, and knowing it would always go on the same table, this turned out to be 38cm). Then I analysed what else I needed this standing station to do. I needed lots of removable shelves about an inch or so apart that could take an A2 (420 x 594 mm) sheet of paper (for when I’m painting papers so they’re not sitting all over the floor while they dry). The worktop and shelves needed to be moisture resistant. I knew it would be reasonably heavy (a good thing – it won’t move as I work on it) so I wanted a “lip” at the front and back so it could be lifted easily. It needed a back so that papers wouldn’t get pushed through, and the back also served as extra support for the shelves. I wanted the front to be open so that air could circulate and help the papers to dry faster. I wanted a bit of extra width on the worktop to allow me to have an A2 paper plus a small paint dish beside it. Once I had decided all these things I put in a request to Edgar the resident handyman (Father in Law). It took a few weeks but I now have the perfect standing station – to be revealed in the next post 🙂