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Another Art Retreat

Another Art Retreat

My last post was about an art retreat and normally, I would just have one a year to tell you about.  But this year, I had two only weeks apart. This is the annual retreat that my small art group does in late summer/early fall at the Kiwanis Lodge on Little Bitterroot Lake.

Landscape of Little Bitterroot Lake with pine trees in foreground and mountains in background on a cloudy day.

This is the view off the deck of the lodge. The weather was a bit cool and rainy but so much better than smoky skies from wildfires.

This year we decided to play around with making our own natural inks, printing and painting with the inks and then doing some bookmaking.

Before anyone points out that many of these types of ink are fugitive and might not last, we realize that. We were just playing around to see what happens and what colors we could get as a result. No “serious” artwork is being made from these inks.

We started by grinding up Haskap berries (Fly Honeysuckle) with a bit of water and straining the result. That is the bright red color on one of the acrylic printing plates in the foreground of the left hand photo. We also ground up beets, grass and kale and tried grinding choke cherries. The choke cherries were a disaster but Sally tried boiling them after she got home and got much better results than the fresh berries.

So Paula had gotten all of us some acrylic printing plates which we covered with ink and then let dry. We left watercolor paper in a baggie with water to get damp overnight and then printed the next morning. The two photos on the left show different prints and the photo on the right was painting haskap berry ink on to a page and soaking three squares of felt in the ink and laying these down on the paper. The ink changed colors depending on oxidization and what paper it was applied to.

Make Ink book by Jason Logan.

This is the book we referred to for various recipes and what mordants or modifiers to use with different foraged materials.

Drawing organic lines with oak gall ink on to previously printed watercolor paper.

I also added further ink (oak gall with ferrous sulfate) to one of my prints with my new fountain pens. I wanted to get used to using the fountain pens so this was good practice.

We then set about making a bunch of inks including hibiscus, acorn caps, acorn caps with ferrous sulfate, oak gall with ferrous sulfate, avocado, turmeric, blue pea flower and walnut ink. Paula also brought copper ink which takes several weeks to make but is the most beautiful blue. We put these in small individual jars with a whole clove to keep the ink from molding. These are now stored in the refrigerator in hopes of keeping them good a bit longer. These should be used fairly quickly. Paula had some that she had stored in the fridge for 6 months or so and they were mostly dull and brown and had lost their original color.

We then set about making little samples of the colors from these various inks. And then you can start adding the different inks together and see how they mix on the page. Such fun!

Table set up with blue pea flower dyes and various modifiers.

Our next set of experiments were with blue pea flower. Apparently, you can buy this as a tea. All you do is steep the blue pea flowers and then add different modifiers. The modifiers that we used were baking powder, baking soda, vinegar, cream of tartar and vinegar. The modifiers change the color of the ink.

Sampling of blue pea flower ink with a variety of modifiers.

Here is some lovely sampling of the different colors that you can get from the blue pea flower inks. They range from green to blue green to blue to purple.

Here are a couple of landscapes that I painted with blue pea flower dye. I love how they mix on the paper and the variations that you get.

You can also paint your paper with blue pea flower ink and then drop dry modifiers on top such as baking powder or baking soda. You really get some interesting effects with that.

Shibori tissue paper dyed with inks glued to watercolor papers to create bookmarks.

We did put some ink on shibori folded tissue paper that could then be overlaid on previously inked watercolor paper and glued down to make bookmarks.

Paper coasters with natural dyed organic patterns.

Paula supplied us with white paper coasters and we played with ink on those too. The left is a combination of walnut ink, acorn caps and oak gall. The right is blue pea flower and hibiscus with baking soda dropped on top while still wet.

Here a three of the books that I created at the retreat. The middle one was using a bit too thin paper which had not been ironed so it is a little sad. But I learned how to fold the triangular pages which was fun. I was using papers that I had previously printed with deconstructed screen printing.

I took my tree specimen book with me and painted one of the plastered pages with oak gall. The photo on the left shows that page which was interesting. The photo on the right is Sally’s book where she has collage parts of the page and added oak gall ink to as well.

We had the best time and thanks to Paula for most of our supplies. We also want to thank the Kalispell Kiwanis Club for letting us stay at the lodge each year!

Making Silk Paper and Beginning a New Landscape

Making Silk Paper and Beginning a New Landscape

Having sold one of my larger pieces in the gallery, I had a request for a new large nuno felted landscape similar to The First Leaf. So if you are reading along and think that you are having deja vu, it is because this piece will be very similar, just a larger size. The new piece will be 19″ x 33″ and will use the same nuno background used in The First Leaf which is only 14″ x 18.5″. The first step was to make silk paper for the birch tree trunks. I had a little bit left in my stash but it was not big enough or long enough.

Silk paper birch trees laid out on netting and plastic with layers of white silk fiber and black accents.

Making silk paper is simple. You lay out silk fiber on to nylon netting, cover with another piece of nylon netting, wet down the silk and then paint on some type of acrylic medium. You are supposed to use fabric medium but I didn’t have any so I just used acrylic medium that I had. The photo above shows a portion of the layout of the white silk with black bits added on top. The nylon netting came in a roll so I could make a giant long piece of silk paper for my big birch tree.

Silk paper birch trees laid out on plastic with layers of white silk fiber and black accents and sandwiched between netting.

I made two lengths of silk paper. Here you can see one side laid out sandwiched between the nylon netting. The left side still needs black added. I actually think that the left side is not silk but perhaps viscose or other man made silk alternative. It didn’t feel exactly like silk but it was white and worked just as well as the real silk. I use up what I have before I buy more supplies, so other options of fiber will work for making paper.

Silk paper birch trees laid out on netting and plastic after being covered with acrylic medium.

Next you wet down the silk fiber sandwiched between the netting with soapy water. The soap helps to break the surface tension and allows the silk to accept the water more easily. You can spray it down or sponge it on, whichever works best for you. Once the silk is completely wet and there are no thicker, white spots left (air), then brush on acrylic medium mixed half and half with water. Flip the net and silk sandwich over and add acrylic medium to the other side too. Make sure the silk is thoroughly saturated with medium. Then peel off the top layer of netting and leave the silk paper to dry. You can hang it up to dry but take note that the water/acrylic medium will drip off and get on the floor if you hang it inside. I left mine flat to dry and it took a full day to dry.

Nuno felt background with birch tree silk paper trunks laid out.

I cut out my nuno felt background to size and played around with cutting the silk paper trees to different sizes to achieve some depth in the piece. These are the approximate layout that I came up with. Next on to stitching!

 

Stitching on Spring Birch Landscape

Stitching on Spring Birch Landscape

My spring birch landscape has been stitched and applied to a backing board so it’s ready to frame. I showed you the first stages of the landscape in this post if you missed it.

Felt landscape of spring birch with free motion machine stitching added.

I added free motion machine stitching to the distant shore. Whenever I start FME on a landscape, I always think that the first few areas where I have stitched look like it’s too much. But I keep going and usually, once more stitching is added, the initial lines don’t feel excessive.

Felt landscape of spring birch with free motion machine stitching added to rocks in foreground.

The next step was to stitch the rocks across from the tree. I considered adding some stitching into the foliage above the rocks but decided to leave it as is.

Felt landscape of spring birch with free motion machine stitching added to tree trunk and branches.

Then on to stitching the tree. I added the dark bits to the trunk and stitching through the felted paper was a breeze, no problems at all either by machine or by hand. The dark branches were added next and then decision time on how to add a few more leaves. I considered needle felting some smaller leaves on the dark branches but then decided I would hand stitch the leaves.

I then hand stitched leaves on to the dark branches using hand dyed lace weight wool thread and detached chain stitch. I added a few bits of grass at the bottom of the trunk as well.

Felt landscape of spring birch stitched to background fabric and wrapped/laced around board ready to frame.

The miracle is that I found a backing fabric, stitched the felt to that and then wrapped/laced the piece around matte board so it’s ready to frame. Since the piece is small (matte size 8″ x 10″), it went quickly and now I have two pieces ready to take to the framers. This piece counts for the year long tree challenge for spring. I have to think about the summer one as it wouldn’t really look different than spring, a few more leaves perhaps?

Nuno felt landscape of winter birch stitched to "matte" fabric and wrapped/laced around board.

The winter birch piece is also ready for framing. I used a darker gray hand dyed fabric for the winter birch as it felt “colder” that way. Now on to the next landscape as the gallery wants me to replace the one that sold last month. (Doing a little happy dance!)

This is the piece that sold called Remembrance. Yay!

More Experimentation with Felting and Paper

More Experimentation with Felting and Paper

I have continued with my experimentations with mulberry paper and felting. My first post is here if you missed it.

Mulberry paper with embossed leaf laid out over green wool ready to felt.

I have had this mulberry paper with leaves embossed on it for quite a while. I loved the paper but never used it for anything. It is fairly thick and the embossed portions are really thick. The question was whether it would felt easily to the surface. I tore out a single leaf and placed it over a small torn piece of green, short fiber merino batt.

Mulberry paper with embossed leaf laid out over green wool wet down on felting surface.

The wool and paper were then wet down (sorry for the blurry photo) and I felted as I had on my previous paper samples, treating the paper as if it was fabric as in nuno felting. I wondered whether I would lose the embossed lines of the leaf, whether the paper thickness was too heavy to felt in easily and if it would felt differently than the thinner papers I had tried previously.

Mulberry paper with embossed leaf felted to green wool as a sample.

Here’s the end result. You can still see the leaf. It felted very easily and doesn’t seem much different than the thinner papers. I think if I had done a lot of wringing of the felt it would have distorted the leaf but I was careful to avoid fulling in that manner.

Hmmm… how can I use this leaf paper in a design? What would happen if I added ink or dye to the paper before felting? What if I dry brushed paint over the surface of the paper after felting? What else could I do to the surface to enhance the feel of leafiness? How would hand or machine stitching look on the surface? Will it be easy to stitch through? Any other experimental ideas for me? Obviously, more samples to follow.

Wool laid out for landscape with birch tree, river and distant trees and mountains. Birch tree from mulberry paper on the surface of layout.

Next on to experimenting with paper in my landscapes. This is the layout of wool and a paper birch tree. (This also works for my spring tree for our year long tree challenge.) The piece is pretty small and ended up about 7″ x 9″ after felting.

Wool wet down for landscape with birch tree, river and distant trees and mountains. Birch tree from mulberry paper on the surface of wool.

Here’s the piece after wetting down and curbing the edges a bit before felting. Again, I treated this gently to allow the paper to felt in.

Wet felted landscape with birch tree, river and distant trees and mountains. Birch tree from mulberry paper felted to the surface.

Here’s the piece after felting. I plan to add some free motion machine stitching to add more interest in the tree and more branches as well. I will probably add a few more leaves to the tree as well and perhaps a bit of detail to the rest of the landscape. The tree worked well and the paper really stands out to make the tree the focal point of the landscape. I definitely need to do more experiments with landscapes and paper. How else could I use the paper besides tree trunks? How would scraps of green paper felt in to make foliage? What would a variety of colors of paper layered over each other and then felted look like?

I love asking ‘what if’ and trying out these ideas, which lead to new ideas and further experimentation. I haven’t even begun to scrape the surface with how paper and felt can be used together. I would love to hear your ideas for experimentation so please leave a comment with your “what if’s”.

 

Bad “art”

Bad “art”

If you’re anything like me, you’ll find it very hard to stick to one hobby alone. After all, there are too many temptations out there, and each creative endeavour fuels the brain differently – it’s fun to discover new materials to play and interact with, and see what comes out of the experimentations.

I rediscovered the love of journaling last October, and have since then filled two notebooks of ramblings, ideas, memories and opinions. As I progressed in my writing however, I noticed I was also very attracted by the notion of doing something visually creative with paper and stationery.

Now, I must add a disclaimer here: I don’t think the pages I filled are special. They’re not particularly beautiful or unusual, and that’s definitely not a negative thing – I started doing collages simply for the joy of playing with images and colours, and these were the space for me to have some non-commercial, creative fun. It was my way of relaxing and letting go of expectations, of “what will others think of this,” of any idea that one’s creative endeavours must always be amazing. I just wanted to get messy with glue and glitter.

A closed notebook on a white wooden surface

This is the cover of my A5 size notebook. It’s decorated with some leftover fabric (featuring cats, obviously) and the artwork from a tin of… Sardines? Cod? I might add more stuff to it as I go along, since I don’t consider any of the pages here “finished.”

Side view of my notebook, with all the wavy and textured pages

This notebook came with different types of paper, so I play with it depending on the “canvas” I want. As you can see, the middle pages have been used the most, and apparently I’ve not much love for plain white paper.

Open notebook, showing two pages of a collage

I tend to go by colour and texture, more than whether the things make sense together. My brain seems to enjoy adding stuff to paper until it looks filled enough and has things to make the eye wander.

Another two pages of my collage notebook, on a white wooden surface

Fabric scraps and teabags are game. See the eye on the lower left corner? I stole that from my husband’s studio, he’d removed it from one of his paintings – does this count as artistic appropriation?

Two unrelated pages of my collage notebook open

Collages made using medical information leaflets and other bits and bobs

If you can’t read the weird Balzac quote above, it is as follows: “No man should marry until he has studied anatomy and dissected at least one woman.” What a weird fellow he was (and I hope no one followed his advice!)

Collage using glitter, ink and paper

Collage in oranges, yellows and reds

I say this again proudly: none of these collages are groundbreaking or particularly good. What they are, is FUN. I loved making them with no end game in mind, no agenda and, until I decided to share them here, I was perfectly convinced none would ever see the light of day. It’s very liberating to create with full freedom from our inner critic and, if you’ve never tried, I urge you to give it a go. It might even fuel your creativity for the more “serious” stuff you make.

How many hobbies do you have? Are they all fibre- or textile-related? Let me know what’s tickling your crafty mojo lately in the comments section.

 

 

Tree Specimen Book Update

Tree Specimen Book Update

If you missed my other posts about this mixed media handmade book you can find post #1 here, post #2 and post #3. It’s a work in progress that I’m taking slowly, adding bits and pieces as I get inspired.

Handmade book open to one page with eco printed background and print of aspen branch with leaves and catkins.

As I was getting ready for my upcoming Level 4 Art and Design class which will involve printmaking, I was going through my stamps and also some previously printed papers that I haven’t used. I thought they would make a good addition to the book. This is a print of an aspen branch with leaves and catkins. I added the black outline with a felt pen. The aspen branch is printed on the back of an eco print.

Handmade book open to one page with brown painted background page and black print of weeping birch on multi colored paper.

I found a print of a weeping birch which I added to this painted brown paper page.

Handmade book showing one page with painted green background and glued cut out of aspen branch from multi colored paper.

While I was looking through my prints, I found a cutout of another aspen branch. I’m not sure what I made it for but thought it was perfect for this green painted page. I might add a few more details into the leaves with colored pencil. I’m not sure yet.

Handmade book open to center page spread with inked background page of orange and green.

The back of the green painted paper above, was white. I added some ink in orange, green and brown around the edges so the white wouldn’t show around the print I planned to add there. This is the center of the book.

Handmade book open to center page spread with inked background page of orange and green covered partially by printed autumn leaves.

Here is is with the print I added. I also finally bought some gesso and added it to all the white pages. Now I can do some painting or sketching on those pages with more ease.

Handmade book open to one page with brown wrinkled paper background and black and gree print of leaves hanging down.

Here’s the last print I added. I have more prints, but for now, I think I have added enough. This book has a lot of pages and I have a long way to go to get it completely filled. I think I will start sketching on the white pages next.

Collage of felted lotus pod created in online class by Glady Paulus.

And for those of you who think I haven’t done any felting for a long time, here’s a felted lotus pod that I created for an online class I took with Gladys Paulus. The class was marvelous and if you get a chance, it’s well worth taking.

Also, registration is open for Helene Dooley’s Hanging Felted Spiral online class. Click on the link and scroll down to the bottom of the page to register. This is a great class to learn more about complex three dimensional felting. You need to be an intermediate felt maker who has worked with resists and three dimensional felting. The class is online and can be accessed throughout the class period at any time. You don’t need to be online at any certain time. So join Helene to create wonderful felted spirals!

 

Adding Dried Leaves to Mossy Driftwood

Adding Dried Leaves to Mossy Driftwood

I have been continuing to add more stitching and other bits to my mossy driftwood. You can see the progression from just felt to adding stitch in these two posts:

Moss on a Piece of Driftwood

Mossy Driftwood Continued

Driftwood covered with green felt and hand and machine stitched areas of moss.

The moss has been getting filled in by hand stitching and adding the machine stitched moss I created. I am trying to decide how much more hand stitched moss to add. I think it needs more “trailing” knots in the “bare” felted areas. But I also need to add lichen in places but I haven’t created the lichen yet. I’m thinking I will try Tyvek lichen.

Leaf shapes created out of tea bags and machine stitching.

The next step was to create dead, desiccated leaves. I found a tutorial for making them out of tea leaves on Youtube.  I had made them out of Lutradur before but not tea bags so I thought I would give it a go. I drink tea every morning so I started saving the old tea bags for this project. In the video, she used some type of stabilizer but I decided to try without one. I layered two flattened tea bags together and just started free motion machine stitching the veins. As you can see, you don’t want to stitch the outer edge of the leaf as it looks more natural without it. Then I cut them to shape with scissors.

Tea bag leaves, machine stitched veins and burned holes/edges.

The next step was to burn the edges and the holes. I found it was easier to get a more natural look when I was looking at photos of dead leaves. That way the leaves don’t all turn out the same. I used a wood burning tool for this operation (the video uses an incense stick). Obviously, you need to be careful when you’re burning things and it is pretty stinky too, you need ventilation. So I took mine to the stove and turned on the overhead fan to draw away the fumes. Plus the stove top is heat proof and won’t be burned or damaged.

Fiber art moss on piece of driftwood with three tea bag dead leaves.

So here’s the full piece with the leaves just placed on it. I will be stitching them down at some point to hold them in place.

Here’s a couple of close ups. You can click on the photos for a bigger view. I am happy with the progress and it is definitely looking very “forest floor”.

 

100 Day Collage Challenge

100 Day Collage Challenge

My local art group doesn’t meet over the summer but we decided to do a collage challenge. The challenge was to create a collage every day using at most 3 pieces of paper and to only take 12 minutes to create the collage. I started the challenge on May 24th and reached my goal of 100 days on September 5th. The hardest issue I had with the challenge was the time restraint. Even with choosing my paper in advance, I had a hard time completing a collage in 12 minutes. So I ignored the time limit but tried to keep it under 30 minutes. No waffling around on how it went together.

Today, I’m showing you some of my favorite collages. There were some that turned out good and others, not so good. But it was a great way to work on color studies, composition and to do something creative to start out my day. If you would like to see all 100 collages, you can check them out on my Instagram account here:

Ruth Lane Instagram

In case you’re wondering, I have a huge plastic tub filled with paper that has been gelli printed, screen printed, hand painted, printed with block prints and whatever other techniques I have done in the past. So I have a wonderful source of papers to use for collage. If you are thinking of trying this challenge, you can use whatever paper sources you have. Many artists use magazine photos, open source online photos, wrapping papers, or whatever they have on hand.

So here are a few of my favorites. You can click on the photos to enlarge if you’d like to see them closer. I had a great time searching through my papers and creating a different collage every day.

Have you tried this type of daily challenge? We’d love to see your results and hear about the challenge. Let me know if you’d like to write a post about a challenge you have participated in.

And speaking of challenges, our third quarter challenge using botanicals as a theme is over at the end of this month. I think a few of my collages meet the guidelines! If you have something botanical to share for the challenge, please submit your photo here.

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