John and I had a fun day in the studio recently. We both wanted to do a bit of experimental mark-making, to explore new ideas. John is looking for inspiration for his printmaking and I thought it would be interesting to play with marks and compositions which could be the starting points of new drawings or which might possible translate into textiles. We gathered lots of tools and then made a few new ones, looking for anything which would make an unusual mark if dipped in paint: We decided to stick to black and white, so we could concentrate on marks and tone. I mixed up a tub of black acrylic and got out some Platignum Calligraphers Black Ink too (a good non-waterproof ink, as it separates into pretty colours when wet, rather than just going grey). I found an oil bar and some liquin too, which is great for smearing not just oil bars but also oil pastels. Plus a Derwent Inktense block and grater (tiny gratings can be scattered onto wet paper or sprayed with water for speckled effects). We both put on latex gloves and set-to on a big piece of cartridge paper each. It was such fun - no pressure to make something which 'works', just pure experimentation. This was my first sheet: I am particularly interested in randomness, so many of the new tools we made were designed to make the marks more hard to control. To add to the random element, we both cut up our sheets into equal pieces, using pre-decided measurements, not aesthetic judgement to create the sections: I like the way it changes things when you isolate a section. The emphasis on the various elements changes, because of the enforced edges, and you start to get interesting things happening with composition. On my 2nd sheet, I started with some large marks in a grey emulsion, to create a new element of contrast. I made a new tool too - a piece of corrugated card to print with. You can see the marks top right: I cut this one into squares. As the paper's dimensions didn't divide exactly into squares, this allowed me a slight element of judgement, as I could move the composition of any square a centimetre or two to the left or right. I then selected the best 6 squares from the 9 created. These are my favourites. It's surprising how well they work just as they are, but you can also see how they could be taken into print or textiles. It would be fun trying to find ways to reinterpret the marks and tones in the different medium. I can highly recommend this as a very enjoyable way of exploring new techniques and getting new inspiration. The randomness is important though, as a way of forcing you not to be too controlling and letting unexpected things happen. John did some experiments using blotting paper, which he tore into strips. Even the offcuts were interesting, which I saved as we were clearing up. The beautiful blue is the Platignum ink: Even my offcuts were quite interesting: Have a go. Even before we got drawing, it was good fun making the tools from odds and ends we found around the studio, taping them to bits of stick and then finding out what marks they made.
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If you are stuck with how to add tone to your artwork, pay reference to the mark making sheet attached. There are a number of ways to add tone – you don’t always have to use the side o…
When I was told about a 4 day workshop at Bunya last year I had not heard of the visiting Canadian artist who would be leading this workshop. I picked up the message from the host that it was a not-to-be-missed event and gladly paid a deposit then preceded to get distracted with things till the call out came this year and I found online links. Nothing however could have prepared me for the 4 days of teaching I have just experienced at the home and garden of gracious host Roz who brought the wonderful Dorothy Caldwell to Brisbane to present her 'Human Marks' workshop. I've assembled the following photos as a snapshot of the 4 days... but I will post more at the studio blog soon as I wish to link to Dorothy's work and also her friend from South Australia, India Flint, who was here as well and will be doing a workshop this week at Bunya plus a book talk at the Brisbane City Library on Friday evening at 5.30pm and a showing of her work next day at Bunya. The first day was filled with lively mark-making processes... some centred around the garden. I was delighted to meet with various one's Ive met online or in person before as well as a number of new faces. The large works above were done in the garden with brushes on long sticks... free gestural works. The one just above was by Tracy whom I took awhile to realise was a blogger I had been on contact with at Soewn Earth. I'd only known her as T from Tasmania...and this person at the workshop was Tracey from Western Australia... so I was seriously surprised to recognise her as T, find she had moved to WA and that of course I was already familiar with her wonderful work! Dorothy Caldwell I used this leaf for one of my tasks... loved the unusual shape. Stitching was a big feature of the workshop and one I loved given it is all too rare I get to use a needle and thread these days despite having grown up surrounded by fabrics and threads. making pages... tables full of book making materials afternoon on the third day... a quiet but contented lot! the first book I put together last day... pages ready for the next book. This is a collection of pages from a number of the group. Dorothy gave us presentations each day on the elements that make up her practice and the inspirations for our tasks. Work above by the inspiring Imbi Davidson whom I've written about before... it was great to catch up again... above is her process for assembling her book. I'll be sure to post on her upcoming exhibition in a couple of months time. I sat next to the inspiring Sandra... lover of all things textile, flamboyant, quirky etc good conversations flowed. Will be linking when S gets her blog up...! Note green sequins in her hand... looking forward to seeing much more from this talented woman! Small books that were our first effort so much inspiration from Dorothy and everyone in the group... 14 people in all! Kellie was so inspired by India's class some years back that she is now studying full time... this was her table above ...so much good stuff going on! below: pages from books... The last 6 images are from Imbi's book... I wrote this post here on a painterly session with Imbi last year! Dorothy Caldwell at the end of the 4 day workshop. Shall pop back in with more links as promised... If ever you get the opportunity for a workshop with Dorothy its an utterly unique opportunity for engaging in multi-dimensional thinking... I really loved that there was such depth in her approach... incredibly warm, human and encouraging yet stretching nevertheless to consider many fresh ways of working. Her capacity to offer input was so subtle and yet significant... much to think on indeed. I am sure many who also attended have been musing today on what came form this hugely enriching 4 days. I'm also extremely grateful to Roz and family for the gift of excellent hospitality and organisation.... and I;m ever so glad to take away many rich memories and conversations to cherish! Now back to painting Dna images for a few days... the fascinating thing was that I worked so much in black and white at the workshop... not unlike the graphic work of the previous week! Hope your week is wonderful... deadline here so its a busy time for sure! If I am not managing to visit you will know that I am madly painting for the 18th of May!
“A Map Of the Garden” Details on the link below or through my website! . . . #jsjensenart #paintingsasprayers #ncartist #ncart #fineart #modernart #contemporarypainting #contemporaryart #modern...
2020 Topic 5: Mark Making Hi everyone, Keren here with a topic that's nearly as intriguing as it is simple. From the moment we first held a crayon or paintbrush, we have been making marks. As children we were instinctive and free and as we develop, it seems that mark making becomes more complex and we hesitate often, trying to make the 'perfectly correct' line, dot or dash. When we think about it at its simplest level, it's certainly something that we can all attempt. I suspect that freedom to make marks with spontaneity rather than over-thought might make for more joyous pieces of art. From early cave-drawings to sprawling graffiti, mark making is not devoid of expression or emotion. Boiled down to its essence, a singular mark may not tell much ( although some artists would beg to differ), but the mark has been described as the 'language' of the artist (Lynette Ubel) and can distinguish a piece of art as belonging to us. When I consider mark makers from the PaperArtsy family, my thoughts immediately wander to Seth Apter, who is well known for his marks and delicious layering of paint and colour. This photo is actually of one particular stage in the process but you can see the marks so clearly, I thought it was a great introductory visual. Those of you who know the PaperArtsy family of designers well, will know that many of the designers give a solid nod to mark-making among their stamp designs. PaperArtsy Blog One of the first decisions you'll have to make involves how you're going to create the marks. There are many ways of crafting your own 'brushes'. Here's a few handmade ones. Art Propelled You could create this tool using an item normally purposed for cleaning.. Elizabeth Schowachert Art Or this collection of 'brushes' Paintdrops Keep Falling Once your implement is chosen. What substrate do you use? Are you making marks using quicker movement or some intentional gauging? Rapid short strokes or long gentle swathes of ink? I love this piece by Jacqui Fehl. There is real life in her strokes. So many examples of mark making are often in black and white, so this vivacious piece is a treat. Jacqui Fehl Instinctive mark making can produce freer responses. This artist closed her eyes and using one hand to feel for the edge of the paper, moved her body slowly down the wall, allowing the motion to guide her marks. Jane Grisewood Moving back to implements, I thought this technique of using a leftover mascara wand is a good option for the environment. We'll be stockpiling all sorts of objects now! Rae Missigman Calligraphers make careful marks, often bound by rigid proportional rules. This example shows a freer side to letter creating and using pen and ink can produce angular marks. Barbara Close Often the marks will be the focus of the piece, but this clever design uses marks to define areas and bring shading. Look closely! Inna Heller It's easy to think of marks as short collections of lines or dots. Mark making can involve fluid motions that result in spectacular dynamic pieces. Anna Sheffield Heading back to the PaperArtsy blog, Emma Godfrey has lots of stamps with mark making in mind. This piece of hers combines lots of different mark making techniques. PaperArtsy Blog Combining different concentrations of colour and direction makes for exciting marks. I love this piece. I Am Japanese This art journal is a great example of different types of marks. The splatters, brush marks, pen work, random painted edges and more. Saadia Nawaz Changing medium completely, there's a technique in ceramics called Sgrafito that involves scraping lines into clay. This artist has also built up part of the clay after making the marks. Eunice Botes More gauging, but this time into lino. Such beautiful lines and great contrast. Viola Dardar Mark making on fabric can come in different forms. This piece shows making marks through spraying over elements (washers), and using different fibres and stitches. Varying the width and type of fibres results in beautiful soft marks. Cheryl Lennox If we can use any substrate, what about the human body? Etching marks into skin with ink is the essence of tattooing. Not all tattoos could be described as beautiful marks but this example is an unique style. chenje.newtattoo We can't forget about gel plates in this mark making topic. Gel plates afford so many ways to make our mark. Whether it's through stencils, texture transfer, marking the paint, adding objects or stamping, this is a versatile technique. Lynn Bailey This next piece shows a gel plate print using really effective scratching into the plate. Jane Davies This next example is one of my favourites. A lively stitched piece using so many marks to build up texture. It reminded me of book binding stitching too. Stuart Shils I hope there is plenty here to get you making marks along with us. They can be simple or complex, tentative or confident, but the main thing is to explore how you express yourself in ink, paint, pottery, fabric or more! If you want to create along with us, please share on our social feeds so we can see what you get up to. The best places are Instagram @paperartsy or post in PaperArtsy People Group on Facebook. Make sure you tag us in your contributions, we love to see what you get up to in your creative world!
Over the past few months I've been experimenting with different ways of making marks on cloth. While I love the linear marks I have been producing with shibori and other techniques, I don't want to just keep repeating myself. So I've been shaking things up. I
ink on paper
You can find a longer and more detailed version of this video on my YouTube channel; the link is in the bio. - Nature materials combined with acrylic ink bring a wonderfully expressive and...
If you want to brush up on your mark making knowledge and build some beautiful artwork and patterns, dive in!
John and I had a fun day in the studio recently. We both wanted to do a bit of experimental mark-making, to explore new ideas. John is looking for inspiration for his printmaking and I thought it would be interesting to play with marks and compositions which could be the starting points of new drawings or which might possible translate into textiles. We gathered lots of tools and then made a few new ones, looking for anything which would make an unusual mark if dipped in paint: We decided to stick to black and white, so we could concentrate on marks and tone. I mixed up a tub of black acrylic and got out some Platignum Calligraphers Black Ink too (a good non-waterproof ink, as it separates into pretty colours when wet, rather than just going grey). I found an oil bar and some liquin too, which is great for smearing not just oil bars but also oil pastels. Plus a Derwent Inktense block and grater (tiny gratings can be scattered onto wet paper or sprayed with water for speckled effects). We both put on latex gloves and set-to on a big piece of cartridge paper each. It was such fun - no pressure to make something which 'works', just pure experimentation. This was my first sheet: I am particularly interested in randomness, so many of the new tools we made were designed to make the marks more hard to control. To add to the random element, we both cut up our sheets into equal pieces, using pre-decided measurements, not aesthetic judgement to create the sections: I like the way it changes things when you isolate a section. The emphasis on the various elements changes, because of the enforced edges, and you start to get interesting things happening with composition. On my 2nd sheet, I started with some large marks in a grey emulsion, to create a new element of contrast. I made a new tool too - a piece of corrugated card to print with. You can see the marks top right: I cut this one into squares. As the paper's dimensions didn't divide exactly into squares, this allowed me a slight element of judgement, as I could move the composition of any square a centimetre or two to the left or right. I then selected the best 6 squares from the 9 created. These are my favourites. It's surprising how well they work just as they are, but you can also see how they could be taken into print or textiles. It would be fun trying to find ways to reinterpret the marks and tones in the different medium. I can highly recommend this as a very enjoyable way of exploring new techniques and getting new inspiration. The randomness is important though, as a way of forcing you not to be too controlling and letting unexpected things happen. John did some experiments using blotting paper, which he tore into strips. Even the offcuts were interesting, which I saved as we were clearing up. The beautiful blue is the Platignum ink: Even my offcuts were quite interesting: Have a go. Even before we got drawing, it was good fun making the tools from odds and ends we found around the studio, taping them to bits of stick and then finding out what marks they made.
There’s a lot around the house that students can experiment with and incorporate into art projects. Here are some of our favorites. Paint materials • Drawing tools • 3D • Collage Paint materials Flower PetalsMost colored flower petals can be rubbed into paper to make lovely patches of color. TurmericMix turmeric with a bit of water and […]
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Stéphanie Devaux ___________________________ . LosT. .fOr. wOrdS. ..
About The Artwork Minimalistic, abstract, mixed media drawing on white Clairefontaine paper, 160 gms, acid free and resistant to age. Inspired by architectural and natural structures. Signed on the back. Original Created:2023 Subjects:Abstract Materials:Paper Styles:AbstractAbstract ExpressionismContemporaryModernMinimalism Mediums:PaperPencilCharcoalGraphiteAcrylic Details & Dimensions Drawing:Paper on Paper Original:One-of-a-kind Artwork Size:8.3 W x 11.7 H x 0.1 D in Frame:Not Framed Ready to Hang:No Packaging:Ships in a Box Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:Germany. Customs:Shipments from Germany may experience delays due to country's regulations for exporting valuable artworks. Have additional questions? Please visit our help section or contact us.
