I’ve got the urge to start stitching again, so I’ve been reading the Jan Beaney and Jean Littlejohn books, including Stitchscapes. Looking at their sketchbook pages reminded me how much I enjoy creating abstracted landscapes so this afternoon I got out my Gelli Plate and some of the favourite Atelier paints. I taped my Gelli plate onto a piece of copier paper so I could line up multiple pulls and got to work. I’ve done 9 prints on good paper, and 4 on copier paper that are just from cleaning the plate – these often turn out really well because of all the tiny bits of colour that get picked up.
Most of the prints have 4 or 5 full or partial layers of paint, and all have the sun in them using Atelier’s Rich Gold series 4. This is a lovely metallic to use – it’s not as harsh as some metallics. Alongside my trusty old paints I’ve been trying out some new ones that I got sent as part of a sample kit; Liquitex heavy body Green Gold and Quinacridone Magenta. They are both really nice to use – they’re single pigment transparent colours and flow so well. I can see me moving to Liquitex from Atelier if I ever use up my paint stash!
These prints may stay as they are or I may try adding a little stitching to some of them, just to see how it feels.
I have been going through some old family photos today and, despite a lot of work with Mum in those last few years, there are some where I can’t identify people or places. Please – identify who, when, where and what for all your family photos before it’s too late. Anyway, this is one of the real gems. The wee boy at the far left is Mum’s adopted father, James Ross, aged about six; Mum thought the photo was taken in approx 1890. How incredible to have a photo that’s 124 years old. The scrapbook layout was photographed early evening, so there’s some shadows etc – sorry about that.
The photos below are of the Tangiwai Rail Disaster in 1953. I don’t know whether they were taken by Dad or Uncle Jim Barker. Uncle Jim was meant to be the engine driver that day but a co-worker asked to swap shifts; such a lucky break for our family, but of course a tragedy for another.
My supply of handmade cards has got a bit low, and I’m going to need quite a few in the next month or so. Tony’s away for 36 hours, staying with my best mate Sandra, so he can see the surgeon again tomorrow. (yes, I think it’s going to be a surgery filled Chistmas for the 3rd year in a row) Anyway … I have hauled out my BigShot, scallop edge card die, some Kaiser 6×6 papers, and a bunch of cardstock. All the bases are cut and I’ve glued them together. This afternoon I want to start cleaning up my studio – blasted mice have been in there – and this evening I can begin decorating the cards. I love having handmade cards on hand, and the distraction is good for me.
I don’t just art journal to have fun and play with cool supplies – although there’s nothing wrong with that, and I do a lot of it. I also art journal to record my thoughts and clarify how I feel about things; sometimes this is about my job, as well as personal stuff. Today’s first journal page is a work-related one. I like how it turned out.
I had a day’s leave today so, apart from a bit of writing and some baking, I have spent the day playing with my art supplies. Some things went well, some didn’t, but it’s all fun regardless. These two pages in my old ledger book used acrylics, spray paint and Stencil Girl stencils.
This is the third year I’ve entered Erika’s International Signature Exchange. It’s great fun and the signatures you get back are amazing. In previous year’s I’ve used the signatures without binding them because I don’t know how to do Coptic binding or similar. This year I decided that done is better than perfect so this afternoon I grabbed some linen thread, a needle, some beads, and a pile of signatures. My work would be enough to make a book binder weep (and not with joy…) but done is better than perfect. I have a journal I can use, and a sense of having made progress. So, feeling stuck on something? Jump in the deep end and go for gold…