Monday, August 29, 2016

Day 6. Definitely evolving, getting harder to read, perhaps too abstract, the word is attic.
I think if I have time I will go back over the pages trying to intergrate them with the page they are on and then associate them to the adjacent ones. At the moment because they are a bit too controlled for me I would consider quite a lot of random writing in and around and even over the top. The colours will need to be more subdued.

Sunday, August 28, 2016

Day 5. This seems to be a more organic test and I was a little happier with the result. I revisited Adolf Bernd's book on painted letters. It is taking more time than I want so there is very little decoration.
The words today are 'from the'.

Saturday, August 27, 2016

Day 4. 
Focussing on imperfections and some other areas that are under consideration I definitely need to do better on day 5. Areas left white should be consistent, the width the same, can I do this? I am not sure as there are quite a few factors:- eyesight, hand, paint and brush and supporting surfaces. The paper has been selected, I wouldn't choose it again. I will try and do better. The paper is affecting how the watercolour pools, I will live with that also. I need to introduce some finer detail , it is to blocky with nothing to focus on.
I will open Adolf Bernd's Book on painted letters and see what solutions he uses and perhaps improve mine.

The words today are 'come down’.

Friday, August 26, 2016

Day 3. The hardest so far to design, loss of interesting detail as the rusty parts of the brain tried to handle the negative counters. I have run out of time.
I give myself permission to continue at a later stage, in fact to alter and or complete all those designs that I come up with better solutions for. I will however work over, under and around, yet still keeping the original. 
The words today are 'you're doing'.

Thursday, August 25, 2016

Day 2. I continue with Phyllis Cole-Dai's poem, the words today are 'whatever it is'. The page pauses are going to take away from the flow of the words and the line length that Phyllis has chosen, I will have to live with that.
I am scanning the pages in black and white thinking that I will be surprised when I see it bound in colour at the end.

Wednesday, August 24, 2016

Day 1. Phyllis Cole-Dai has given me permission to use her poem  'On How to Pick and Eat Poems'.  Phyllis wrote it in gratitude to thank the enthusiastic readers of 'A year Of being Here' it is her collection of mindfulness poetry. I hope to explore and develop how the various 343 letterforms interact with each other, if they appeal to me, and to play with watercolours and pencils. Yet I still want to recognise what the words say. It is a challenge as it was the first time I have spontaneously chosen to read verse.

I intend to use  the '100 Days' project to help me maintain momentum and will post on their site and this blog.

This is the first day and I used the first word 'stop'. The paper - Clairefontaine Paint On 250gsm (multi techniques) torn into approximately 10.5 x 15cm, which I intend binding into a book at the end.

Monday, July 11, 2016

My Family.
This shadowy period of their lives, where they have not been before. 
One leaning into the other adding strength to both - heartening to see. 
Another thinking and doing as he knew how, stoic and patient. 
Bursts of laughter, tears welling, stomach churning, gulping.
The house is now his.
Dark, quiet. 
Calling out but no sound replies. Cold, alone with the wind.
The cats stir and stretch. 
Shiver and feel the load.
It is just him now.
Going round, not numbers, but things that shouldn't be lost.
Call out again. Plead.
Holding onto a thin line, a shared bond that I hope will last.
18.6.16  Jeanette

Friday, May 20, 2016

After the first page I thought, I must do this with other colours, as I know they will interact differently. Looking at my paint tin I thought I should replace some nearly empty pans, Cad.Orange replaced with translucent orange, white with Gamboge, and a new cobalt. The pans that were nearly empty might be the ones that I experiment with next. Ultramarine, Cobalt, and Cad Orange.

I am not old enough to handle cobalt, I could not think of anything I could use it for. The grainyness made it textured sure, but I wonder if all manufacturers make it like that. Mind you I was only mixing it with cad. orange. I think I could remove the pan from my box for a while. 

The ultramarine was a delight, I see it everyday around me and I could have covered pages with it. It reminds me of the world around me - just a small shape of colour does that. Cad Orange is the common denominator and I wonder why I don’t attribute it in my notes? Perhaps I have chosen the darker colour subconsciously?  I intended to come back later that day and after cleaning my brushes I left them dipped in water, hanging. Quite noticeable to see the residue pigments drifting downwards.

Sunday, May 15, 2016

I have lost my way again and trying to get back. I noticed that I was drawn to an artist in Ireland who was trialling a series of vessels in watercolour.   I kept going back to look at what he was doing, he continued and was getting excited at what was happening. I tried to approach some play of my own with watercolour. Not good. Over a period of a few days I slowly filled a page of the journal with experiments using Schmincke pans of burnt sienna and blue black. I watched how the colours reacted to each other, how the water sat up on the paper, the pigments lost their vibrancy and translucency as they dried etc. This is not a technically perfect trial, I was just enjoying the brief moments that I made available to myself. The gentle spread of colour was extremely fine when wet and later that disappeared and softened away to almost indiscernible as it dried. I definitely have preferences on the page, 2nd and third column, 4th row down would be the favourites. I do not expect the photo will be a good colour reference for me as I am a point and shoot person, but it may remind me of the processes.

Saturday, May 14, 2016

This beautiful coptic bound book filled with watercolour paper has been patiently idle on my shelf, yet to be designated a theme and used. A gift given to me, I have been waiting for inspiration and a voice telling me that now is the time. I have begun.

Wednesday, October 21, 2015

Notes to myself.  This quote by Hannah Stephenson called Ancient Language is one that I wanted to keep. Scraps of paper do not always survive on my desk so I thought I would write it in my journal and keep it safe. I intend writing it out again to one side to make reading easier.
Using a mix of left over ziller orange and some watered down sumi and my oldest folded aluminium nib I set off with no plan in mind apart from clean intersections and try to keep splashes and dribbles to a minium.  Then I wanted to add more middle tones and thought that a graduated scribble pattern in counters and areas not connected to the edge might work. An after thought - might have been a good idea to think about this at the beginning!
Hannah has very kindly given me permission to use her words and I'll see where it takes me. This is Hannah's  site 
and the poem found me  here

Ancient Language:

If you stand at the edge of the forest
and stare into it
every tree at the edge will blow a little extra
oxygen toward you

It has been proven
Leaves have admitted it 

The pines I have known
have been especially candid 

One said
that all breath in this world
is roped together

that breathing is
the most ancient language

Saturday, September 26, 2015

I make marks slowly, this is the latest group of fiddling about in the journal to do with things nautical. Diane came over and we played about with making stencils and hand printing them. These I altered with coloured pencil, they are unfinished and I wait for inspiration. Visited Stephanie and Emily's collaborative exhibition at the David Lloyd Gallery (Dovetail Dreams) last night. A busy place and unexpected artwork. I was warned! If art is to make you think - I still am.

Monday, August 24, 2015

This is the cover of a journal that I like to hold, it's textured and bendy. To start with I printed images, collaged a few on the pages and used pencil and watercolour to complete as I wished. The book is backed with heavy duty canvas and the pages are art paper with some irregular sizes. I went through randomly gluing in off cuts and images into the book from my printing efforts thinking that I would keep it for a range of nautical graphic experiments. It lay idle for a year or more, until I came across Rosemarie Taylor's drawings of boats. Not understanding why I was drawn to them I thought I should try a similar style and see what happened.  Not copying slavishly, as I had the collage already on the page - the first boat denied me the fine detail I usually get buried in, this is a good thing! The canvas surface was way too rough.

This past year I have wandered aimlessly, but have carried on doing small things in the studio, even if it's doodling or tidying up. The first boat was followed by finding seaweed on the shore and  trying to draw it as it shrunk, shrivelled and got smelly.
Below, on the left hand side is another drawing trying to use Rosemarie's style, (looks like it's caught in a whirlpool) and the one on the right is a print on crinkled Japanese paper. Last Sunday we went out driving with the Thermos down to the Auckland wharves and watched as the sun set.

Saturday, October 18, 2014

A trial with some left over water based printing ink. So roughly done I never expected anything to come out out it.  Firstly drawing a figure with charcoal tinted pencil in the page centre and then rolling the brayer over the top, this way and that, it created much more movement and (for me) a more interesting background to journal on. The brayer picked up the charcoal and echoed the lines elsewhere on the page. Not sure this is controllable.

Wednesday, July 30, 2014

Not to scale journal.
Some local elements are here but drawn from inside the head, definitely not accurate. Trying to see if I could manage the full tonal range of the tinted charcoal but I couldn't. The view is sort of approaching the two Mangere Bridges from the south with the cement towers and wharves.

Tuesday, July 29, 2014

Not To Scale Journal.
Trial with charcoal tinted pencils, progress scans from sketch in the "Not to Scale' journal. This is not what I set out to do and I am not sure at what stage I went past the stopping point. The lesson is to have another go I think. It is not the content that is important to me, it's to draw what I see in my head. Structure, form, depth and full tonal scale.

Wednesday, July 16, 2014

Not to Scale Journal entry. Dots are brushed through holes in a plastic bag stretched over the page (plastic came as bag with imported grapes)  moved about five times with different colours, I liked the layers showing through and over the earlier water colour. Then I made a string grid over some cardboard, brushed over with acrylic paint and hand stamped onto page. I thought it looked like a shopping centre or city hospital so I drew parking spaces around busy central area. I considered drawing tall buildings but the perspective floored me.

Tuesday, July 15, 2014

This morning's entry in the small journal called 'not to scale'. Sip, pause, listen. A dull heavy thrum with occasional sirens, carrying over the water, dwarfing the waves lapping and the sound of the shore birds. Mangere Bridge.

Monday, July 14, 2014

Woodpecker Bay : A Road Trip South.
Another two layers.
Each page now has brush lettering and simulated newsprint collage added, not one page looks on the way to being completed. I am thinking this booklet is now going to be of many layers. I have worked front to back up until now and will reverse the processes perhaps even making them random to try for a balanced look.

Friday, July 11, 2014

Progress on the title page for what once was a 'collaborative book'. The dunny (down a wandering, wilderness path) was exposed to the rain and winds after the recent storm. The cladding was missing in places and the roof might have kept off the rain.The view was spectacular,  along the coast as far as you could see. It wasn't too scary - the bugs and spiders had not thought it was worthy of colonising. There was a disused candle holder, shells collected by children on the noggins, and some toilet paper well on it's way to be an artwork. The smell wasn't too bad because it was winter. On the back wall was a beautiful stained glass window, locally made I think as the images were Kowhai and perhaps Rata. It well deserved the title derelict.

Thursday, June 12, 2014

These pictures are the start of a booklet that is supposed to be a part of a collaborative effort between several of us. It measures 15cm x 21cm. I am not sure if it will go ahead as the numbers are not confirmed. The images are from a recent road trip from Blenheim to Woodpecker Bay, on the S.I. West Coast. I have used various methods employing coloured pencil, watercolour, acrylic, graphite, pens and even modelling compound. They are of the Wairau Valley, Nelson Lakes, glimpses of beaches, Murchison, Buller Gorge, towards Dennistone and Woodpecker Bay Itself. Words and images are to go on top of these loosely prepared pages, I imagine quite a busy little book when it's finished.

Tuesday, March 25, 2014

Left Handed Journal entry. On the way to Miranda. Leftover watered down sumi ink, brush, charcoal tinted pencils, folded aluminium pen, all put over a previously brayered page with left over water based ink.

Wednesday, March 19, 2014

Journal 52 prompt number 11, stars. I allow myself one hour of time for these journal projects each week. If drying is needed I remove that from the allotted time. This one is 6 layers of acrylic black, blue and green,waiting in between to dry, the New Zealand constellations drawn on top with a roller ball pen, more waiting, then the awkward phrasing drawn with water soluble crayon, page then sprayed with a fixative and splattered with white acrylic and dabbed dry.  No time to rework the phrasing. I suppose it's good to have something to go back and fix or redo, distance might give me a better perspective.

Wednesday, March 12, 2014

Journal 52 Number 10, the prompt is create for a cause. I dissolve into a heap when I see sharks having their fins cut off and then being unceremoniously dropped back into the sea, I am deeply saddened by dead fish caught in illegal nets, I turn away when I see dolphins being slaughtered in Japan, or seal pups killed in the snow. I can hardly keep control of the tears as I type this, I have no idea why I am so vulnerable to the inhabitants of the sea. There are children and women who are starved and battered, young men who never grown up because of war, the world is a sad place because of what we allow to happen.
Charcoal and coloured pencil

Saturday, March 08, 2014

Journal 52 number 8, found language. This is quite complicated for me. A list of people I know of, just some of them, acting as a barrier or fence to my world. I am on either side,  sheltered from both. Stepping sideways, around could be a solution.

Thursday, March 06, 2014

Journal 52 number 7 and the prompt is colour. I started with a magazine image, tore it up and glued it wrong side down, before dry I pulled it off, leaving small scatterings of the image and some paper. Then I glued the piece down with the image I wanted facing up. The colours I chose to use with this are Schmincke Delft and Turquoise, afterwards I added some gesso and watercolour, finally a few pencilled words about the place. It was a small harbour in a southerly storm in Southland. The words went like this. A seagull's view might be of an incomplete circle, the gap throttled with rounded granite anchors to the land, flying airborne spray carried to dampen everywhere the wind went, the birds wheeled and wheeled away. The fishermen indoors, hunkered down, just their chimneys, catching spinning and rocking were moving. The boats were on the slips because we had storm warnings.I liked being part of it, how did this harbour work, where was the channel deep. The sun came out between each squall defining distance against the navy blue background. I wanted to wait until high tide.

Friday, February 21, 2014

Playing with Sketches number 7 Cutting paper which is closely related to Etrecissement. I found an article that I couldn't bear to throw away (on sculptor Manuel Neri's work), I could hardly bear to cut it up. A bit sad. This acts as one page but it has many windows through to more images underneath. Areas were simulated to look like the work surface and coloured to over come areas I didn't want to show. Interesting and quite taxing for me to do. It is unfinished, I have to pack for an expedition down south, maybe when I return I will continuing experimenting.

Wednesday, February 19, 2014

Journal 52 Number 7 prompt is 'your dream job', or thinking back to when you were a child, 'what did you want to be'. I wanted to live in a light house and still do. It is a dream not a plan. The sea with it's tidal rise and fall, calm weather and more especially storms, bird life, passing boats, coping with a restricted life, managing with what you have, isolation, marine life, fishing, unrestricted horizons, loneliness, service - are some of the things that come to mind.

Monday, February 17, 2014

Journal 52 continues. Top J52 no 1 - I have tried to improve by adding the stencil to the picture, I am tempted to add a kite string the the bottom corner. It wouldn't really be visible but someone looking for clues might find it. Bottom J52 no 6 - the prompt is 'the lost art of love letters', I tell the story of my parents with a little embellishment.

Friday, February 14, 2014

I have made fences in the past and to my surprise they are still standing. There is something reassuring about a fence, defining an edge. This is a drawing (with the brushes application for my iPad) of the supplies and some of the tools I would have used. This is the 5th ap. trial - basic but not enough. (Bit like my knowledge of this tool.)