Archives for category: Mixed Media

Last Saturday after work (I started earlier than usual – which is very early – and left at noon) I took a train into the city. The Salmagundi Club was having a whole day Draw-a-Thon from noon to midnight and I wanted to be there for as long as I could manage which turned out to be 7 hours.

I had 4 plans. One of them, after I scoped out the arrangements, I abandoned. Since the press downstairs would be available I thought I might try a monotype from life drawing but I realized it would be too messy and potentially disastrous to be walking up and down stairs, avoiding easels and sitting, standing, milling around artists while carrying an inked plate and tools. Yikes!

Everything else worked out as I had hoped. There were five areas set up with seven models, nude and costumed. Two were doing short gestural poses and the rest were hours long poses.

My 3 other plans worked out fine and I walked around, sketched all the clothed/costumed models, alternating methods, leaving and returning.

Gridded notebook; charcoal; stump; kneaded eraser.

I copied this painting of his daughter and then returned the library book which I had already renewed once. I enjoyed the drawers and drawers of little cards in the olden days library but renewing books from the comfort of the recliner has nothing wrong with it. I also located the location of the next “subject” while in said recliner – which is also the studio annex – and was able to head straight to the proper shelf in the real world. Another Very Big book.

Seeing this painting of his daughter gives me permission to not only screw around with chair legs but people are fair game also. A lesson.

Stillman and Birn Zeta Series sketchbook; litho crayon, acrylic ink.

Stillman and Birn Zeta Series sketchbook; pencil; acrylic paint

I have decided that this painting gives me permission to no longer stress over chair legs. Well, retroactive permission since I gave up on them long ago – especially the crossed ones on the chairs in Every Single park in NYC.

Stillman and Birn Zeta Series sketchbook; pencil; acrylic paint

I told you I went off on a tangent. I flipped through pages of the Milton Avery book, skipping the landscapes, and stuck in scraps of paper to mark paintings that caught my eye. Then I flipped back and forth trying to decide which was next.

Stillman and Birn Zeta Series sketchbook, pencil, acrylic paint.

Stillman and Birn Zeta Series sketchbook; litho crayon; acrylic paint.

I copied his shapes, tried to match his oil colors with my craft acrylics. Things aren’t exact but they’re in the ballpark. Hopefully I’m learning something.

Stillman and Birn Zeta Series sketchbook; acrylic paint.

Another Milton Avery copied upside down from the Very Big book. You should have seen me lugging the book around trying to find a position where there was no lighting glare on the page and I could draw and paint in my Tiny sketchbook without either dirtying up the library book or dropping it on my toes.

Warning: I did a whole bunch of these paintings. I think I might have developed muscles.

Stillman and Birn Zeta Series sketchbook; litho crayon; acrylic paint.

One day, when I was doing a Library Stealth Drawing, part of my camouflage was a Tremendously Big book filled with paintings by Milton Avery. What a wonderful book. Instead of leaving it on the table I checked it out and lugged it home (heavy heavy heavy) where I decided that it would be a very good idea to copy some of those paintings. On my journal spread was a stamp I carved of some people from a meeting I attended last year. They were waiting patiently on the page for something. I turned the library book and the sketchbook upside down and copied one of the paintings using a litho pencil. VoilĂ !

Copying this painting turned out to be such fun that I was instantly set off on another of those tangents that beset me.

Stillman and Birn Zeta Series sketchbook; litho pencil, acrylic paint; Speedball Speedy Cut and cutting tools; Akua Intaglio Ink.

I did a transfer monotype and then ran the plate with the remaining ink through the press to get a monotype. It was ok but barely. One day, while I was painting in my journal I decided to use the paint on Bill’s print. The process is very satisfying.

JKPP = Julia Kay’s Portrait Party (referred to photo put on JKPP Flickr Group supplied by subject for this purpose)

Oil based Printmaking ink, printmaking paper, etching press; acrylic paint.