Wringing The Grey Cells Out.....

.....for some decent blog-fodder for today!
Yesterday was, and I hate to admit this, a NO-ART-DONE-DAY. It was a clean up, do exercises, run (okay, limp or waddle---pick one!) about the house like the madwoman I am, trying to get some semblance of minor order back to the pit. I hate days like that..hate 'em. Yes I do!
I was in the studio for such a short time that it only annoyed me grossly. It's all or nothing baby! (can you guess that I consider yesterday nothing???) The above piece is in progress, and one of those oddities that someone will love or hate. I always enjoyed playing with the little chalky valentine candies that had sayings on them, though they left much to be desired in taste and usually were discovered months later semi-melted and covered with a layer of well stuck dust. But, they are such a tradition, I thought I would give this a whirl.
Not my colors, not my style, not not not.....still, a little shading, a little varnish, a bit of sparkle. Maybe. I don't know.

These were the backgrounds I worked on, with papers cut, then coats of medium atop the backgrounds so that they would accept paint or whatever I decide to throw at them and not disintigrate. They are a single ply of a napkin, so the paper has to be handled very gently. No poking my fingers into these to see if they are dry---I wait.

And for your amusement....

Why, pray tell, would I be excited over this gem? Other than the fact that I am really odd?

When I received my pre-op instructions, I was told I would have to do daily injections, which I had never done, but I've sewn through my fingers a lot and I figured that counted towards *self shots*. I received this in the mail, with instructions (DVD) of precisely how to do the injections and of course I was supposed to RETURN this cannister with the used sharps enclosed. (ooops. forgot.)

Oh, no waaaaaaay! This is far to good a paint brush or pencil holder! When else in my life am I going to get my paws on a BIOHAZARD container???? A real for sure medical grade BIOHAZARD container!!! I yanked the top off---after considerable bad languange and effort, and it is my prize of this whole bizarre adventure I have had of late.

Hey, when the BIOHAZARD container is the highlight of your day......think about this.......

I'm back to the *custodial care* issue from a post a few days ago. I am beginning to wonder. So what you have read here, is brain dribble of the worst sort. Disjointed, grumpy, complaining.

But it has a cool brush holder!

If you can top this, please comment! Or tell me to shut up and go away until I am mentally in better condition to post.

Otherwise, from my warped little heart, I bid you.....

Pax.

P.S. The "Java Love" is now available on a lovely coffee mug, in two sizes, from my little Zazzle store. I did the image as a half fold card, and a poster. It is a kicking coffee mug!
Visit easily by clicking HERE!

Fruits Of My Labor....."With Love"

 

(Paris, copyright AMH-Lockard 2010)                       (Love Entwined, copyright AMH-Lockard 2010)

Well, finally!!! Some finished work to share....  :-)  It is with great pleasure that I write this post because I have been so happy with the pieces and also anxious for feedback on the different ones.  I am hoping, as you are reading this, that I am again ready for a day at the table, but that could still be up in the air. We'll see.....

(Damask Hearts series, copyright AMH-Lockard 2010)

These two presented opportunities I had not thought about when I covered the panels with the thin paper. I knew I would go for shading and the addition of some color, but then there was this particular *blah* with the patterened background. I wanted to preserve it, it was elegant in design, but it needed something--in the words of Emeril--to *kick it up a notch*. I sat them aside and worked on the other pieces. "Paris" was pretty easy....it made itself; I just applied the right colors and mediums.  "Love Entwined" was a bit more demanding in that I used some gel medium with color added on the bottom and had to wait and wait for it to be thoroughly dry before adding shading. The background though needed something else, and a bit of glitter paint seemed to add the magical aura necessary for this cheery and almost child-like heart piece.

And then I was back to the "Damask Hearts".

Hmmmmm.........

Somewhere in the back of my addled brain, I remembered buying a bottle of a crackle agent I had never tried, and after finding it, took a deep breath and painted it heavily onto the B&W backgrounds. And again, I waited.

These are products that cannot have the drying time forced. They won't crackle if they are hit with a hairdryer or heat gun...though I have singed a few pieces in trying this! And lost all crackle in the process. (it says on the containers....don't try and speed the process...I read that every time....)

I was very, very happy with the results. Enlarge the above photo and see what a lovely effect it gave! I felt it was similiar to a piece of old, crazed china or printed ironstone ware.

Then the outer edges were coated with very fine German glass glitter in black, the finishing touch to these elegant little numbers!

 

The final application to all the hearts is a heavy coating of high gloss varnish and sometimes a touch of glitter. That makes them pop from the backgrounds, which I occasionally vary by using a satin varnish, thus adding more depth and visual seperation.

And now, I want to get back to work......enough resting.....I want to paint and cover myself in gel and glue and generally make another creative mess!

We'll see. The health is first.

Hope you've enjoyed this description of how these progressed. It really is hit and miss, isn't it???  ;-)

Have a great creative day, a good Monday and for the whole week.....

Pax.

A Creative Mess.....It Must Be ART!!!

This morning I woke, wide awake at 4 a.m. again. I can't blame the birds or the leg or anything else......there is a simple reason. Today, as long as I hold up, is my first ART DAY since the operation!!! I was like a little kid before Christmas last evening; too anxious to sleep, ready to bound (well, okay, slide gently!) out of bed and waddle out in the dark of morning to post this! :-)

I hurried out to the studio, after brewing my trusty cup of 40 weight coffee (some day, it will eat right through the mug and walk off....), grabbed the camera and clicked off a few shots of what is on the sewing table. Creative mess! Thought in process of becoming reality. Papers I have saved up and love for their color or pattern, that will become little hearts of all varieties. Big and small......square backgrounds and rectangular. Traditional and non-traditional.

I am soooooooo excited! No, this is not *high art*, *fine art*, art to hang in a gallery.

This is an explosion of from-the-heart-art that I am pretty sure describes the joy I feel at being able to make anything artistic after a long dry spell. It is fairly easy, with collage and a bit of fluid acrylic and colored pencil, paper and scissors, canvas panels and gel mediums.....the things I love.

Today is also the first day poor DH has to return to work, and believe me, between the two of us, I have the better job! I am excited! (not that he has to go back to work....) Of course, I will have to cook a good warm dinner for him as he ventures out in the arctic blast of Indiana in January, but this means my life is returning slowly and somewhat to a state of normalcy, whatever that is.

Now if I can stay awake long enough to revel in my mess and make some more, it's going to be a  glorious day!

Thanks all, for the kind words yesterday on Charlene's photos---yes, there is a Huskey gene for photography, I am pretty sure. Oh the bedlam we could create if we were together!!! That could actually be frightening.....heehee!

And now, as I cannot bear it any longer, and the brain drivel is drying up and slithering in the direction of the sewing tables, I must bid you adieu. I still have some things to move from the wet studio and a chair to get in place down there.

If I could bottle the happiness I feel right now, I would send a 50 gallon drum off to all my gentle readers! Alas, instead, I must wish you a most creative happy day and bid you......

Pax.

P.S. I am thinking about a mystery give-away for Valentine's Day. Any thoughts from my public? This is still in the brewing stage......just sending out feelers to see what the response would be on a mystery give-away.....

The Rabbit and The Moon

There is of course, backstory behind the artwork. First off, this month's theme for our local art group was *Moon* which in and of itself did not excite me too much. But I kept seeing ads on Canadian TV for a restaurant that was having a "Moon Festival Special" and that perked me up. It was oriental food, so I started a search o-line for some info.
It seems three countries celebrate the Moon Festival (essentially a harvest festival); Japan, Korea and China. It is the Chinese version that inspired this work, which I apologize for the poor quality of the photos. maybe clicking on one will give more detail, and let you see the texture and work involved.

As the legend goes, in the Buddhist story "Śaśajâtaka", a monkey, an otter, a jackal, and a rabbit resolved to practice charity on the Uposatha, believing a demonstration of great virtue would earn a great reward.
When an old man begged for food, the monkey gathered fruits from the trees and the otter collected dead fish from the river bank, while the jackal wrongfully pilfered a lizard and a pot of milk-curd. The rabbit, who knew only how to gather grass, instead offered its own body, throwing itself into a fire the man had built. The rabbit, however, was not burnt. The old man revealed himself to be Śakra (God of the Heavens), and touched by the rabbit's virtue, drew the likeness of the rabbit on the moon for all to see. It is said the lunar image is still draped in the smoke that rose when the rabbit cast itself into the fire.

The background behind the moon is a combination of Chinese text, some from old books, some stamped, all on various types of paper, and collaged together. Then they were coated with fluid acrylic and some interference colors, which glow when the light hits them right. The moon is cut from another canvas panel, same material as the back support, and a photo image was collaged on, with paint added to that. The rabbit is a sheer, stick on material that is covered with holographic glitter.

I used bottle caps to show the various moon phases and had an interesting surprise. The background paper for the dark of the moon was a metallic, and when coated with Triple Thick Glaze, it tarnished and crackled, much like the color of the moon that is the focal point. No clue this would happen! The papers around the edges were scraps I had saved from other projects and turned out to be a good foil for the frame I had painted red. The blues accented the cool color of the moon and the irridescent bumps on the one paper almost matched the glitter of the rabbit. The symbol in the upper right hand corner that looks quite like an "A" is the figure for "Moon".

And so, I have a rabbit in the moon, and am happy with him, though it was a hurried and not nearly perfect project. But I very much like the story and the moral of it, so it endears the piece a bit more.

May we all be rabbits......

Pax.

The Final Installment of the Tutorial (Oh...relief!!!)

(the following work is a copyright of Anne M. Huskey-Lockard, 2009)

After yesterday, we were basically at the point of laying on ink gently to add to an aged appearance. This is what using one color does, with the majority of the ink being the Tim Holtz Vintage Photo brown, but also a bit of regular brown dye ink used.
Put a bit on, work it in with a rag, wipe it off to smooth the edges and make it seem stained or just aged paper.
One color family sometimes works fine, but I generally go in with black ink also. This photo below has black dye ink and I go back to my rough brush that I used for the gel and gesso application.
Tap it on the ink pad, or stroke very lightly to pick up small amounts of ink. VERY SMALL. Then begin to shadow along edges of paper, skim lightly over wrinkles, smudge a bit here and there after brush application with the rag. More texture begins to show, and the piece gains in interest.

When I have that done, to where I like it (and this is a matter of personal taste) I will go back with the STAZ-ON and do the edges of the canvas so it really is dark. That makes the center of the panel pop and sometimes, I will let just a touch of the ink go over onto the top of the panel.
At this point, you need to let everything dry very well.
You will then spray the begeezies out of it with a workable fixative (I use Krylon exclusively) and make sure the sides are sprayed too.
I can't say this enough:

HAVE ADEQUATE VENTILATION!!!

In the summer when it is hot and dry out, I'll go outside the studio door to do it. But most of the time I am in the cellar and I spray and run. Sit the piece down, again, let it dry well. When you get back to it you will notice the workable fixative has added depth to the work, the colors seem brighter and it also has left a bit of a slick finish. That's fine.

Next are stamps if you choose to use them, but you will want fluid acrylics or craft paint thinned with a collage medium. Dye ink will not dry on this--Staz-On will, but the color will be quite intense. I like the workability of the fluids and paints. This, again, is personal preference. You can stamp partial images, texture, whatever. Stamps must be cleaned immediately after use or you have just ruined your stamp. The paint does NOT come off with stamp cleaner once it's dried. I have a very soft old toothbrush and artists brush soap I use, but as long as it is something gentle, you're okay.
CLEAN YOUR STAMPS! They are a big investment even on sale!!!

This has a bit of texture stamped on. You can see the dark edges well in this photo and also how the fixative brought out the layers of texture in the rest of the piece.
So why am I stopping here? Because this is all you need to know for a background. Everything else, from here on, is foreground, and that is when you, gentle reader, make your personal statement. What is it you want to say or do? Do you strictly want to do an abstract? Do you want to do a painting? Do you want to collage on images and words?
Whatever you may consider, you're ready. Remember anything printed from an ink jet printer will have to have a good coat of the workable fixative before being applied. Anything that is not water proof becomes so with the workable fixative. Don't skimp.
I hope this has been of benefit to you and I hope to hear from some of you, that you've tried this and a photo would be even better! (hint hint!) Then we could have a blog post about what different ways we all went with the same technique.
Now, don't be afraid to try this, don't be afraid to ask me questions, but most of all, have fun with the art you make.
And if it flops, well, put it away like I did mine, let it *cure* for a while and then take it back out when your mind is clear! After all, that's what this is all about. Recycling. Everything, the art included!
Wishes for the best of luck and the best of fun.....

Pax.

Part Three: CHEAP CHIC!

(the following work is a copyright of Anne M. Huskey-Lockard, 2009)

Well, here we have the essentials for the next step, and one essential for ANY step in my art, my favorite coffee mug filled with good strong java! ;-)
Your panel is completely dry, and now we get to gesso. There is only one brand I use---ONE. It is the artists grade from Demco, manufactured in Canada and sold locally at Hobby Lobby. Not a particular plug for them, but if you can't find it, you can order it from their website. Make sure it's the artist grade, as there is a big difference.
Have handy an old rag (don't try paper toweling--won't work and it's a waste of money--rags wash), the coarse brush you put the gel on with and just use the gesso off the foil liner. You don't need a lot.

I use a small amount; this is almost a dry brush technique, because you want it to sit on top of the texture from the gel medium, lightening and blending the background papers. Don't put it all over--unless you want to. I prefer a light touch at first and then add as needed.

Sorry for the lousy quality of a couple of the photos but I have a hard time holding everything! The side view shows a bit better that all is not covered, in fact, in the process I occasionally will wipe some off with a slightly damp rag, or rub some in to make it fall into the gel grooves.

The sides, all around, are covered with gesso. If you think you have a bit too much on, just wipe it down with the rag. No big deal.

And here is what it looks like when I decided there was enough white to suit me. You can see I left some areas pretty much untouched as they are integral to my final product......at least at this point. That can always change---that's what's so great!

Now to inks. Above are DYE inks and STAZ-ON inks. Dye inks are great in that they dry quick, can be softened with a damp cloth, can be stamped and will be dry soon, but they do require a sealer before putting any other wet media on top of them or they will run.
STAZ-ON, as the name indicates, STAYS ON!!!! On your clothes, on your hands, on you worktable, on everything--which makes it good for final coats, heavy ink applications, and when you know for sure you want something somewhere. I have two colors simply because they are double the price of the dye inks. But they are an excellent product....just take time to learn to use them.

I start tinting the panel on the sides with the dye ink, using the pad to rub it on, then softening the finish with a rag. This isn't quick work---you need to enjoy detail work. A LOT.

I take the pad and lightly touch it to the top surface of the panel, getting only a small amount of ink on the gel. Practice will let you know the right *feel* of this.

Then I still, usually, will rag the ink, to soften and distribute it around. I only work the outer edges first, to build a visual *frame* of color.

The very outer edge is inked heavily, and not rubbed in. I want the crevices from the paper and gesso to show through as there will be other applications after this. It's a matter of having to learn to leave it alone. (hard lesson for me!) Just ink it and walk away. Go finish your coffee, play on Facebook, go to town. Let it dry.
Tomorrow we will finish the top of the panel, and I probably will leave you at that point to pursue either doing one, or you're going to have to wait quite a while for a finished piece of art from me due to my sewing requirements at present.
This is all very achievable work---anyone can do this. If you can't find the paper selection you would like, visit Manto Fev for one of their foreign paper samplers. It's how I've built my stash and it is most affordable.
Above all else, have fun with this! If you decide to make a piece, let me know. Maybe we can post the finished art here at some point!
Yes, I have thrown down the creative gauntlet!!!
Have a great and productive day!

Pax.

Part Two of CHEAP CHIC!

(the following work is a copyright of Anne M. Huskey-Lockard, 2009)

Now comes the fun part, continuing from yesterdays frame dissection! Gather together a lot of different types of papers; old books, text books, phone books, etc. I love a selection of whites, taupes and beiges. These will be a bit more toned down later, but for the moment, you want some contrast both in paper color and text.
A bristle brush for scrubbing and Golden Regular Matte Gel Medium are what puts this all together. I like a lot of gel for texture and the bristle brush helps with that; this is something you will have to experiment with to find what you like and how much. The matte gel leaves a finish that accepts other media after the paper is on.

If you click on this photo you'll be able to see the different types of paper I have collected. One note: on any texts that are considered a religious text by any belief group, I only use from books that are falling apart or have sections missing. It is something that I personally feel is the right thing to do as far as having reverence for all beliefs. That's just me........

Here is the work in progress. Whenever you begin working with gel medium, ALWAYS wet your brush and then squeeze out the water. It will leave the bristles damp but not wet. What it does is help protect the brush from the medium, and keep it flexible. This stuff can dry QUICK.
Put a good coat on part of the panel, then lay the piece of paper on (this has to wrap to the back) and smooth it out with the brush. Turn the panel over, add gel to the edge and back and smooth the paper tight. Use gel to help in the smoothing. Sometimes the paper tears, and that's okay because you just put the next piece over the top.

This is a close up of the panel in progress, building torn piece by torn piece. There is medical dictionary text, shorthand, Hispanic text and I believe a page from an old book on the temperance movement in Indiana! (that's not applicable today, eh?)
Keep building, and if you have an idea of what you are going to use this for, you might decide on certain pieces in certain places. Keep an open mind.......these are things with lives of their own.

The finished panel with LOTS of gel medium over the top after everything has been put on, smoothed, wrapped and allowed to wrinkle from the dampness of the gel. Those types of wrinkles are good--don't fight them. Just get the paper on as flat as possible to start. All ages and types of paper handle differently, so be prepared for surprises. Some of the oldest paper I have used, from the 1600's, handled absolutely brilliantly with a little care!
I chose Hebrew text at the top and the dark page is from a very old and incomplete bible. I felt they complimented each other well and will work with what I *think* I will do with the piece later.
At this point (read my lips!!!!) LET THIS DRY WELL!!!!! Overnight usually is not enough. Sometimes a day or two, depending on humidity. I set the panel on top of a jar of gel with the lid on, or any other jar for the most air circulation. There is a lot of wet that needs to be DRY. It should have no tack what so ever when you hold it in your hand.

And, after drying, a test fit into the inner plastic piece. I like the papers better than the print it had, and we're not even close to done!
Okay, get a cool drink, process this, try it if you want and tomorrow we'll start doing some work on the papered panel.
One note: If you think this is something you could use, then do several panels at the same time. Then they are papered and ready to go. You can go with standard sizes that can be framed later, or if you have oddball frames at hand, cut the panels and go for it.
Now off to your creative day, and I'm off to work some more!

Pax!

P.S. HAPPY BIRTHDAY JAN!!!!!! :-)

How To Go From CHEAP To TRES CHIC!!! (tutorial, of sorts!)

(the following work is a copyright of Anne M. Huskey-Lockard, 2009)

I don't think there are any of us out there that have not had, at one time or another, a gift to give or a donation to make that was at a *bad pocket book time*---i.e. you're fairly broke, but you have to do something. Or it is a political thing where if you don't donate you're on the perpetual ca-ca list, and that irks you more that you have to spend money. Or you have to give a present to some extended kin you really DO NOT LIKE (or even know).
Well, I'm here to help you out. (in other words, you owe me. not firstborns...just blog publicity!)
At this point, any professional framers reading this should click out of the page. I know some of you live near me and I want to continue a happy and healthy existence!!!! ;-)
The above frame is a cheapie from a local dollar store; I think I paid between $6 and $10 for it, and it's barely worth that. It is made of heaven only knows what. So you have to be careful in the disassembling.

First, yank off the paper covering the back and see what you have to work with. This is a common cardboard and staple combo, the type that usually has me saying bad words after I've cut myself a few times! The secret to pulling the staples is to pull them straight out at the angle they went in. Sometimes they will split, so be careful! They can rip skin easily!

You usually can tell by looking close; then shove the tips of the pliers into the cardboard, grab that staple and PULL!!! Repeat as necessary until everything is loose. Dispose properly of the staples immediately---I've had them fall on the floor and find them with my feet, or have a piece found with a finger somewhere under a pile of papers. Not fun, and not sanitary. Seriously.

If you're lucky and nothing breaks, you should end up with an assortment of *parts*: frame front and glass, inside decorative piece---which in this case is thin molded plastic (!!!) and what is the *art*. Needless to say, that's going......but you have to use it once first.

After you have GENTLY removed the art from the inner molding, save it in one piece. It will be your template for cutting a canvas panel to fit in the opening left in the molding.
Place the print on the front of a canvas panel and use either a very sharp craft knife or a rotary cutter and ruler and cut the panel about 1/16" smaller on the two edges. (you'll only be cutting two, since the other two will be the panels existing sides) This will allow for space when you use paper to collage the panel, and that WILL add a bit of size to the edge.

Check the fit. I lucked out---no digits cut off, panel fits good with a little wiggle room. Also make sure the canvas panel sits a bit below the molding, so you have room for coats of paper, gel, etc. You don't want that to touch the glass, because I guarantee it will stick.
Now, the next step will be collaging the paper onto the panel, and that is tomorrow's installment!
Tune in again; Same Bat-Time, Same Bat-Channel!!!
And have fun with this-----just be creative and make some art! Cheap.

Pax.