Wednesday, July 19, 2017

brabbled flores litter

“Anything is possible. It’s all about risks, deliberate risks.” 


Squirlk?  Skurrel?  Not in my back yard.


Cleaned up a bunch of details today-  got a message from a woman wanting to know about a quilt I made in 2005 and was quite flattered she would assume I remembered what year this is!  Spend the day scouring for images-  there are precious few, the show isn't listed on my resume, and lordly I keep bad records!  Got all the info together that I could, and wham-  the email address she gave me fails.  What a waste of time

One of my students last week called the Library looking to get in touch and they notified me but when I call back I get an old lady telling her callers NOT to leave any message.  Gave up on that.  What a waste of time.

Added the latest old dog license and rabies tag to my own necklace-  the collection is getting louder and heavier after having so many years of up-to-date dog vaccinations.  Had to haul down the jewelry tools.  What a waste of time.

And then I tackled the 'What I Shoulda Said' quilt in progress.  Yesterday:
 Today:

Sewed the strips all together, a real joyful ride since it's all BIAS.  Shoot me now.  Worked out the corner problems, worked out the sides, added and subtracted stripes, and have the whole thing pinned to an inch of it's life.  AND THEN THE PHONE RANG and my #72 quilting foot arrived so I stopped by the shop and grabbed it along with a nice thin cotton batt.  I am seeing the day that I get to work on the quilting part!  Hallelujah, said the Atheist.  We're getting' there.

Might as well have a PARTY OF ARTIE!







 South American conceptual artist Marta Minujín has just installed a towering new architectural installation in Germany called The Parthenon of Books, a scaffold replica of the famous Greek temple clad in 100,000 copies of banned books. The piece is currently on view in Kassel, Germany as part of a 100-day art exhibition called Documenta 14.

Sunday, July 16, 2017

jumbo sequenced Illyrian

“I’ve learned that opportunities are never lost; 
someone will take the ones you miss.” 



oof, it's hot.


Mitzvah Morning:  I have a friend who is in a bad way and she needed some help this morning.  I dropped by but I just can't keep my mouth shut when I can see obvious things that need doing so I spewed out that perhaps there should be a therapist, not Sandy, involved.  Seems I left on good terms but came home a spewed all my feelings to poor TY-  I can do this because he never hears me anyway, and not just because he's deaf, he just plain DOESN'T HEAR ME.  Not a bad thing, just an annoying thing.  Another mitzvah with another friend who is leaving for awhile.  We drank coffee and chatted and I hope I calmed some of her nervous energy.  Then I went to the studio.

And the studio calmed ME down.  I got the stick sawed in half for the 66" wide piece I am sending out, and drilled two additional holes for the open part of the sleeve.  This quilt will be hung on 4 brads, not two-  hope they understand that so I wrote it all out.  If they don't like thatI also installed a little angle brace to one edge of the center cut with two tiny screws.  And I taped the 2 additional screws to the stick so they CAN stick the stick together in the center-  we'll see what they do.  Now the cut stick works fine and the quilt rolled right around it and fits into the 60" sono tube beautifully for shipping.  So, it's all wrapped and ready to mail.

I got a call from the library where I taught the other day and they can't use my business W-9 so I need to send off an additional individual one so that's on the decks for tomorrow.  And then I get to go sew some more on 'Shoulda Said'.  I was optimistic when I left and I think I can, I think I can, I think I can make it work.  Of course once I get it off the wall with all that bias the bets are off.  But we'll see...


Now HERE is an ARTY PARTY if I ever saw one!  We missed it because it was last week, but there will always be another one next year!


All the Fridas

The Dallas Museum of Art and the Latino Center for Leadership Development are partnering to set the Guinness World Record for the largest gathering of people dressed as Frida Kahlo in one location on Thursday, July 6, on what would have been Frida Kahlo’s 110th birthday.The rules included:
  • A unibrow drawn onto the face joining the eyebrows. This can be done with make-up or by sticking hair.
  • Artificial flowers worn in the hair, a minimum of three artificial flowers must be worn.
  • A red or pink shawl.
  • A flower-printed dress that extends to below the knees on all sides; the dress must not have any slits up the side.
If you do not meet the criteria listed above, you won’t be able to participate in the record attempt per the Guinness World Records’ guidelines.

Saturday, July 15, 2017

removableness enriching stouten


(to accompany the samurai cat armor posted a few days ago)

Yesterday I finally got the two remaining quilts back from the quilt museum I've been waiting for-  too bad the sticks don't match so I guess I have to cut new ones for ALL the quilts I sent.  What a PITA.  I have one stick for four quilts back in Boston and it belongs to somebody else, not mine.  I'll check with the rest of my crit group to see if any of mine made it home with them.  Grrr.

I pulled my 'Hurricane Gates' off the wall to make it's label and dust it off only to find that I hadn't finished the sleeve yet.  So I will do that tomorrow, I did make the label today so that's done BUT the stick I have for it is 8" too long to mail it in my sono tubes, so either I take it and let FedEx make a box OR I send two sticks since I did manage to break the sleeve in the middle.  That settles it though, I have to start making smaller things, under 60"

I did manage to get all my boxes of collage materials put away which took most of the morning AND my store of energy for the day, but had a little left to do some more diddly work on 'What I Shoulda Said'.  Here:
failed attempts at planned cutting

the WTF approach going in stripes on the diagonal.
I cannot wait to get back to this wrestling match in the morning because it finally involves sewing! It's a bear getting the big slices to line up reasonably well adding that 1" stripe between, and the corners are gonna get me soon! As you can see they either make missing holes or blobs.  

Today's ARTY PARTY really ain't no party but is self explanatory AND cautionary.  DO NOT try selfies in tight exhibition spaces.  This one cost approximately $200,000 according to the article.  Imagine facing the museum to 'splain yourself!
Ugh...

Thursday, July 13, 2017

noisy precolorable punchier

There is as much difference between us and ourselves as there is between us and others.
                                        Michel de Montaigne


Add Olney to your travel file.

Today I taught a little class at the big library downtown-  what a nice facility and a bunch of 20 women and one man showed up.  Apparently they are a core group that attend all the different art classes being offered.  Anyway, I had a very hard morning in order to get there, part of which I won't even begin to tell in a public forum (not that this is very public any more!).  I managed to get to the garage and load the four giant plastic tubs of stuff I needed onto a rolling dolly thing we have used for yard work.  It barely fit in my Mini but I jostled it around a bit and got the handles off so it fit on top of the plastic tubs in the back seat.  This was not a good idea because every time I turned a corner or hit a red light the damn thing settled and I was convinced I would be impaled on one of the handles.

The garage was full up to the third floor and I found a place and unloaded all the tubs onto the dolly and started down the half floor towards the elevator.  because the floor was so sloped I had a terrible time controlling the cart but soon discovered that it wasn't the floor, it was both big wheels were wobbling terribly.  I tried to kick them back onto the axel but nothing works=ed and I thought I could sort of LIMP to the elevator very slowly and might make it.  Nope.  As I approached the elevator the whole kit and caboodle went over like an explosion of art supplies-  tubes of paint skittered across the floor, plastic cups for water rolled all the way down the floor to the floor below-  and I had 40 of them!  Then all the collage papers and fabric went over, the two irons and both surge protectors went flying, my source books landed upside down in the filthy garage, it was a fookin' mess.  

Fortunately for me, one of my students was parking her car and saw this scene and offered to help so I sent her into the library to find the woman in charge to send over a cart while I picked up stuff still rolling around.  Fortunately also I had my work all rolled up in plastic so that was OK but nothing else was like I started out!  As I finished gathering it all up the woman came to fetch me.  I abandoned the damn dolly and left it next to the elevator forever more:
This only shows one askew, BOTH were involved-  there was a piece missing holding the wheel to the axel.  I need one that works, will visit Home Depot tomorrow when I get all this crap to of my car.

Needless to sayI was so happy to get home today. The class was just too short to do much of what I had planned so it would make a good day long workshop.  But it doesn't matter because I am not doing it again-  I spent hours planning and packing, $$ making sure everybody had a substate, glue, scissors and images, brought irons and teflon sheets and extra everything, not to mention the paints we never got to.  Not even counting the prep and travel and the unpacking I face tomorrow, just counting the teaching time minus the investment I made so little money I couldn't have stopped for a burger on the way home.  There was no provision for having the people bring stuff from home-  that would have helped totally.  Anyway, it's over.

And it taught me again why I don't like to do this any more-  every single time is a disaster on my psyche-  the only GOOD part is that I love to teach, but that is such a small percentage of the whole process.

TO CHANGE THE SUBJECT~~
Yesterday I was again waiting for the AC guy to fix my air so I can get it cooler than 78 and I got a lot of work done.  I finally got up enough nerve to cut diagonal slices and insert more of my fave B&W stripes with a bit of variation:
You may remember "What I Shoulda Said" here:
In progress on the design wall a month ago.


And here we have it sliced up, followed by a stripe preview!
There may or may not be additional stripes, perhaps going in a different direction. 
Who knows?  The shadow knows...
On the way, still not happy but perhaps a bit HAPPIER, since I have a plan for the side triangles.  Maybe I will solve that tomorrow too.
I also have to send my quilt out to the Whistler tomorrow and find the postcard they sent me to copy.  Today I finally got back a couple of pieces from the Quilt Museum, so pretty soon I will have all my chickens home to roost.


ARTY PART:




Thanks, NASA!  Images of Jupiter!


Monday, July 10, 2017

stylostixis failings nimonic

“You can’t make a whistle out of a pig’s tail!”  Vermont Saying





OK, Back to Collage, and today we'll talk about materials and methods.

First, you need s substrate and that can be anything with a surface that your items can be attached to. Examples are cardboard or Bristol Board, a piece of masonite for more 3-D items, stretched canvas or even three dimensional surfaces (think posters attached to brick walls!)  For decoupage, glass is popular, with the images glued to the back of the transparent surface.  

Preparation:  on cardboard, for a uniform surface you can use Gesso-  two layers going in opposite directions are good-  it's a plaster like surface that takes glue and paint well.  This step can be skipped if you're using primed canvas (if you bought it stretched it is probably already gessoed.)  If you lay down acrylic paint it will act in a similar way forming a tight bond with glues.  Paint or lay down your first layer that will act as the background. Wait to add subsequent layers until it is dry to the touch.  

Fabric Background:  Use fusible web on your items if they are fabric, fusible web OR thin layers of glue if paper.  If you plan on stitching on the surface, try to avoid the paper images because it will tear easily with needle holes and they can't be hidden. I've found it works well to add a bit of fabric to paper collages, but not as easy to add paper to a fabric collage UNLESS you have a stiff substrate.  

For glues:  Any PVA glue (Elmers) works well, even student glue sticks get the job done but you will find that some magazine illustrations, depending upon the thickness of the paper being used, buckle from the moisture and dry with hills and valleys.  Test each paper-  take a scrap and add the glue to one side and paste it onto a scrap cardboard.  If it forms wrinkles and dips, don't use glue on the that magazine paper.  You can use the re-positionalble glue sticks if you like to move things around.  To apply the PVA glue, dot a few spots on the BACK of your illustration, put it face down on scrap paper and smooth the glue out with the edges an old credit card. Place on background and cover with parchment to burnish it down gently.  (use your fingers, to that cleaned up old credit card, or even the back of a spoon.  BE GENTLE) Set aside to dry before you add another layer.

Alternately, you can use gel medium and heat set.  Put two or there thin coats of gel medium on BOTH sides of your illustration and let it completely dry between coats.  Put a layer of gel on the substrate and let it dry. Trim any raggy gel off the edges so it's clean and smooth, place on the cardboard and  COVER WITH PARCHMENT OR SILICONE MAT, and iron it down with a regular iron or a tack gun. Third choice is to use fusible web on the back of your item.  Again use parchment or the silicone mat and press the fusible onto the back.  When it becomes shiny, remove the paper and trim the edges (or cut out your design), place on the background and iron down, again WITH THE PARCHMENT.

For permanence, look for archival materials, but for practice and experimentation, found cardboard works fine.  Think cereal boxes with their images already printed, old letters or ephemera like concert tickets or stamps. Stencils, printing, or transfer images from your inkjet.  BEWARE-  inkjet images are usually dye based and will smudge and run if they get damp. TEST TEST TEST.  If you have a pigment ink printer your prints will be permanent and you can use them like you would any magazine picture.  There are photo transfer papers available from office supply stores that will work but the image will be backwards when ironed on, so make sure and mirror-image the picture in your computer before you print it.

Adding color can be paints, oil pastels, permanent markers, watercolor pencils- just about anything that gives you the desired color or tone.  There are packs of printed papers in small sizes at craft stores, then also large sheets of hand made papers of all types, as well as different assortments of similar papers to use together.  Look at wrapping papers, paper products for dining-  plastic tablecloths, paper napkins, crepe paper (which runs when wet and can be quite beautiful!)

The thing I most want you to know is that there aren't 'rules'-  just about anything goes, BUT think about what your story is that you're telling.  it can certainly be fanciful, it can be art, it can be just a fun pastime or something you continue with for the rest of your life.  


In Other News:
What with getting things purchased, backings cut up, collecting every cutting device I have, and occasionally making a meal, I have FINALLY finished, once and for all, combining the contents of five Metro shelves into THREE Metro shelves.  I have tossed, donated, and boxed up all the extra dumb, faded, or too small scraps and winnowed them down to this:  I have also accomplished the same thing with drawers and drawers of paper ephemera.  Out it went, and I can now move freely about the studio.  Haven't been able to for a long time.
It's taken months and I am so pleased that it is done so I can get on to things I would rather do-  like MAKING ART!  I'll start that tomorrow and cut up the latest quilt top into something smaller and louder!  Should keep me occupied through the summer.

ARTY PARTY:




As part of a royal event in Abu Dhabi, Italian artist Edoardo Tresoldi was tasked with the creation an immense environment of architectural elements built from wire. The variety of objects fully encompass the event space, creating elegant partitions and environments within the 7,000 square meter space. The installation was designed and built over a period of 3 months in collaboration with Dubai-based studio Designlab Experience.

Wednesday, July 05, 2017

habitude uncolourable superheterodyne


Collage is the twentieth century's greatest innovation. 



OK, so some folks don't quite agree.
*
Today I want to take some time to talk about collage.  I am teaching a short class in collage next week and this will serve as my way of gathering my thoughts.  The class is Fiber Collage and IMHO that pretty much means it's anything you want it to be, any materials, any construction, any plan.

But lets start at the beginning of collage:

Collage describes both the technique and the resulting work of art in which pieces of paper, photographs, fabric and other ephemera are arranged and stuck down onto a supporting surface.

To get the terms straight:  Collage derives from the French term papiers collés (or découpage), used to describe techniques of pasting paper cut-outs onto various surfaces. It was first used as an artists’ technique in the early twentieth century.

Collage can also include other media such as painting and drawing, as well as  contain three-dimensional elements.
A montage is an assembly of images that relate to each other in some way to create a single work or part of a work of art
A montage is more formal than a collage and is usually based on a theme. It is also used to describe experimentation in photography and film, in particular the works of Man Ray and Laszlo Moholy-Nagy who made a series of short movies and photographic montages in the 1930s.

A photomontage is a collage constructed from photographs
 Photomontage is often used as a means of expressing political dissent.
It was first used as a technique by the dadaists in 1915 in their protests against the First World War. It was later adopted by the surrealists who exploited the possibilities photomontage offered by using free association to bring together widely disparate images, to reflect the workings of the unconscious mind.
Mixed media is a term used to describe artworks composed from a combination of different media or materials . The use of mixed media began around 1912 with the cubist collages and constructions of Pablo Picasso and Georges Braque, and has become widespread as artists developed increasingly open attitudes to the media of art. 
Essentially art can be made of anything or any combination of things.
MIXED MEDIA VS. MULTI-MEDIA
What is the difference between mixed media and multi-media artworks? While both terms describe artworks that are made using a range of materials, multi-media is generally used to define an artwork that uses or includes a combination of electronic media, such as video, film, audio and computers.
Collage allows the opening up of conscious, which is very direct…it's also a way of looking at what you are consuming all the time – John Stezak

CUBISM, the background 
1909-1912
Cubism was a revolutionary new approach to representing
reality invented by artists Pablo Picasso and Georges Braque within a very short timeframe. They brought different views of subjects, usually objects or figures, together in the same picture, resulting in paintings that appear fragmented and abstracted.  
Cubism was one of the most influential styles of the twentieth century, generally believed to have started with Picasso's painting, 

 DEMOISELLES D’AVIGNON, 
which included elements of Cubist style.  The name seems to have derived from a comment made by a critic who described the work as reducing everything to geometric outlines, to 'cubes'.

Cubism opened up almost infinite new possibilities for the treatment of visual reality in art and was the starting point for many later abstract styles including constructivism and neo-plasticism
By breaking objects and figures down into distinct areas – or planes – the artists aimed to show different viewpoints at the same time and within the same space and so suggest their three dimensional form. In doing so they also emphasized the two-dimensional flatness of the canvas instead of creating the illusion of depth. This marked a revolutionary break with the European tradition of creating the illusion of real space from a fixed viewpoint using devices such as linear perspective, which had dominated representation from the Renaissance onwards.

To back up a bit, some Cubism influences:
Cubism was partly influenced by Paul Cezanne in which he painted scenes from slightly different angles or points of view.  Picasso was also newly interested in African tribal masks which are highly stylized, not naturalistic, yet presenting a strong human image

Braque and Picasso worked closely together, at one time even sharing a studio.  The close and competitive working relationship between Pablo Picasso and Georges Braque in the radical, game-changing development of Cubist painting is a standard story in the history of Modern art. Braque, conjuring a bit of mountaineer melodrama, said, "We were like climbing partners roped together." Picasso, employing more than a hint of sexist condescension, said that during the most intense period of give-and-take growth, Braque worked as if he were Picasso's "wife."  Their work, in some cases, was indistinguishable from each other.
 ‘A head’, said Picasso, ‘is a matter of eyes, nose, mouth, which can be distributed in any way you like’.
        
At some point during 1911, Picasso and Braque became less concerned with painting as a description of multiple viewpoints or as a collection of shattered viewpoints—depending on how you interpret Analytical Cubism—but instead in a new kind of pictorial construction and a new kind of art-making. This kind of creating resulted in what were considered more “legible” cubist images. This new legibility and the idea that these new images were constructed rather than subjected to analysis (built-up rather than broken-down or apart), is why this period was dubbed “synthetic,” meaning a synthesis, or a collection of disparate elements into a coherent whole. Central to the ability of these works to build up elements was the invention of collage.
Collage was an extraordinary break with the past. Even though artists previous to Picasso and Braque had represented (i.e. painted, drawn, etc.) mass culture in their works, and even though artists in both art and popular culture previous to Picasso and Braque had occasionally used the method of collage, Picasso and Braque were the first well-recognized artists to do it intentionally and towards the purposes of artistic innovation. Collage (like Cubism itself) was hugely influential. After word of Picasso and Braque’s new technique spread, just as with the birth of Cubism, a virtual torrent of artists (other Cubists, but also FuturistsDadaists, and others) started working with collage. Importantly, Picasso and Braque should also be seen as the first artists to make mixed-media works (i.e. works made out of more than one medium)—a term we use very often today. As well, they were the first artists to put into question whether art could consist of pre-made materials (foreshadowing the work of Marcel Duchamp), and finally, collage questioned the separation between art and life—ideas so many artists of the 20th century—such as Duchamp, but also the Dadaists and Neo-Dada artists like Robert Rauschenberg—would take up subsequently. 
Picasso’s Still Life with Chair Caning was arguably one of the first collage works by Picasso and Braque, and definitely the most developed. So what are we looking at? First off, the work is a small painted assemblage of the letters “JOU,” and—according to various art historians—there is also a pipe, a glass, a knife, a lemon and a scallop shell in the picture. These objects are augmented by the insertion of a strip of oilcloth onto the canvas (at the bottom left) that was an imitation—i.e. fake—strip of chair-caning. (Oilcloth is basically what contact paper used to be called. One might use it today to line drawers. It was bought in a department store.) While the oilcloth alone signals that this is a revolutionary type of work, what would be called a collage or papier-collé, there is also another piece of material from the real world, a rope, which acts as a frame for the work.
Calling this just the first collage ignores some of this work’s magic. Most of the Still Life’s power lies in its interest—through the addition of a piece of man-made material—in playing with the difference between art and illusion, which was a major theme of Synthetic Cubism. (JOU does mean game in French.)
How does one see this play? On one hand, this can be seen as a work of two-dimensional art, in a rope frame; of certain objects; brought together and seen from various angles. Yet on the other hand, the insertion of an actual piece of oilcloth that looks like chair caning—which would be used to cover chairs in cafés of the time—makes this image feel like an actual circular table that one might look through, from above (making it appear an oval), so that a chair could be seen below the glass table and the objects sit on top of a table. Accordingly, you then become part of the scene, a customer sitting at a café table, reading your newspaper (JOU then stands in for Le Journal, the most popular newspaper in France at the time) and having breakfast. There’s even more play in the image if you keep thinking about it. Though Picasso could have used real chair-caning in this work, the one he chooses (and buys) is actually fake. This simultaneously deflates the illusion Picasso is trying to create just as he is making it occur. 

Over just a short time, Cubism divided into other movements, the chief being Dada, as social conscious entered their art
These artists felt the war called into question every aspect of a society capable of starting and then prolonging it – including its art. Their aim was to destroy traditional values in art and to create a new art to replace the old. Leading artists associated with it include Arp, Marcel DuchampFrancis Picabia and Kurt Schwitters. Duchamp’s questioning of the fundamentals of Western art had a profound subsequent influence.  
Rejected by the Cubists as too Futurist, a 1912 painting by Marcel Duchamp, 'Nude Descending a Staircase'. is now regarded as a Modernist classic and has become one of the most famous of its time.  But it's roots in Cubism are very obvious.
Yet the work was exhibited with the same Dada artists at Galeries J. Dalmau, Exposició d'Art Cubista, in Barcelona, 20 April–10 May 1912, and subsequently caused a huge stir during its exhibition at the 1913 Armory Show in New York.
NeoDada:  In 1919 artist Kurt Schwitters coined his own term of Merz to define his work that used found objects and everyday materials, stating: ‘new art forms out of the remains of a former culture’. In Opened by Customs Schwitters mingles pieces of wrapping paper and fragments of newspapers with pieces of rubbish. Curator Karin Orchard in her exhibition catalogue essay wrote of Schwitters’s Merz:Following his experiences in the First World War, Schwitters decided to create something new from the rubble of the old world and henceforth concentrated on collages: ‘You can also shout with items from rubbish heaps, and that is what I did, by pasting and nailing them together’… In the hands of Schwitters, Hannah HochGeorge GroszJohn Heartfield and the other dadaists disparate materials from all sorts of sources retain their own identity and are combined to create an entirely new self-sufficient composition. Collage and montage became groundbreaking, structural concepts in modernism.


The first quality that is needed is audacity. (Winston Churchill)
And, there ya go.  
No ART PART today, this whole thing should suffice! 
Tomorrow I will get into the collage class.

much of this information was right off the internet, only meant to be a short history of the way Cubism developed and Collage became an accepted art form.  At some point I will go back and site sources. If you are offended by any particular part for copyright reasons, contact me immediately and I will remove and replace the information.  Thanks!  

Sunday, July 02, 2017

multiphastic stadtholdership cermet

“Acrylic may not be for everyone, but it is used by more artists today that any other painting medium.” 
(Stephen Quiller)
A squirrel birdbath?  I dunno, as long as it's a squirrel I grab it.

A friend solved my mystery for me when she mentioned that her Feed has up and dissolved. That sorts explains how my stats have plummeted overnight.  I don't think I said anything that would turn all of you away at once, but if I did, tell me!  Anyway, if your automatic feed used to send me along to you with each new post, it isn't working now.  Feel weird putting up each new post on Facebook like some do- probably because I am all over the map on what I talk about.  If you think I should, tell me.  


Pertaining to the quote above, I started art school right after acrylic paint was invented- it was developed in the 50's in it's current form- and it was the newest bestest thing to come along in many years.  Before the 60's it was called synthetic paint because it was color suspended in a polymer.  Then it was called  LATEX paint and primarily manufactured as house paint- and if you remember your art history, it was Jackson Pollock who was known for throwing/ dripping latex house paint at his canvasses-  same thing as acrylic paint now, but cans of house paint were cheaper by far. 

 When I entered my first painting class I had a set of old oils from my dad, but the professor told us that we now have a CHOICE (and you know by now I am all about CHOICE, right?)  as he explained the differences, the pros of each and the cons and we could choose which to use in class. And we were cautioned to make sure we knew what we wanted because they would be with us the rest of our artful lives.  Daunting thoughts!  Now, my hand-me-down oils were pretty dried up and messy and I really wanted the acrylics since that seemed to be the wave of the future.  So, I gave the oils to a friend who wanted them and then every week I would race to the bookstore to get a new tube of Liquitex acrylics. Pretty soon I had a good collection and learned to love how they could be watercolors, or tempera (gouache), or oils, all the same paint!  And I have stuck with them now for over 50 years (gag!) and unbelievably still have a tube or two of the original batch- I can tell because they are in the old metal tubes!

Do I paint?  Nope.  But I sometimes print on fabric to use in a quilt, or I need a toned color page for a book I'm making, or a shelf needs a coat of paint, or, not often, I want to marbleize something or stencil something or paint out a mistake somewhere.  I love my paints.  

Here are some manufacturers websites with ideas and information to keep you going a long time.  There are all sorts of extenders and retarders for each version, as well as different formulations for different applications.  Most of your questions can be answered on these sites.  In addition, in an art store there are frequently flyers available for free to take home and read of all the different techniques and uses.  Take advantage of all this free information!




GRUMBACHER   (from Amazon)
  
FOLKART   (made by Plaid)

All of these are available at real Art Stores, College Bookstores, online, and at Craft Stores like Michaels and Joanns BUT you really should seek out an art store for a complete supply of all the additional mediums and varnishes and extenders you may need for your applications.  Take money, lots of it!  Or, like me, collect paints over time.  Hey, some women collect jewelry!

In Other News, TY is back home, the pool is getting used again and the new privacy shade is being appreciated by all those OUTside, and the dogs are SO happy!  They have him trained to give them cookies if they simply sit and stare.  Drives me crazy.  I am back cooking and have Joule, my fancy immersion cooker slopping away cooking a steak for dinner.  It's on an App and it rang a few minutes ago and will be held in it's perfect temperature water for a very long time until *I* am ready to quickly sear it to make it pretty.  So, for now, I will go throw together a salad and charcoal the steak a bit, and check back in here later.  

Later:

Told ya.  

And anyway, it's time for the Arty Party

I made this one extra big so you could see the stitching






And this one is X-big because I really like parrots!


Warsaw-based embroidery artist Paulina Bartnik stitches colorfully lifelike brooches of birds and other tiny creatures in a dense style called needle painting. Each object begins as a piece of wool which she prods with a special needle in a process called dry felting which results in a surface ideal for embroidery. She then paints with a needle directly on the felt and embroiders the finer details. 

Happy Fourth, Everybody.  Stay away from fireworks in the backyard-
You need those fingers!


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