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.

Marbling paper for book endsheets is a great way to add a little more class to your bookbinding project. Marbling is very simple to do and every print is completely different which further helps to add originality to your books. Your bookbinding marbling adventure doesn't have to stop at endsheets, you could also experiment with marbling the coverboards, the book cover material or even the book block fore-edges. For the general craft-worker or bookbinding hobbyist you'll likely be able to complete adequate paper marbling with materials you can find at home or pick up from local stores (you can also buy marbling kits that have everything you need to get started). For those looking for a more professional finish you'll be pleased to know that marbling is an art, and as such there are many techniques and concepts you can learn to make your books stand out from the rest. I would recommend checking our post on the Top 5 Must Read Books on Marbling Techniques + Reviews. Continue reading →

I'm going to try to squeeze in a little post here about the drawing workshop I'm taking with Leonard Ragouzeos at North Country Studio Workshops. We are working with India ink on Yupo paper. Watch out! I will not be able to resist the urge to demonstrate some of these techniques.... Meanwhile, some pix: Ann working on a figure Kathy working on her Javelina My third composition My first composition My second composition Someone else's figure Someone else's figure Vicki's figure Ann's fiigure My figure in graphite on paper Grid of value studies Kelsey working on Robot Man Mary Jane's gorgeous head drawing Value studies (mine) More of my value studies Thanks for visiting!!! More when I get back to the studio. You are going to LOVE this set of materials. Can't wait to show you.

1. Yves Klein, photo collage of the three fire fountains originally planned for the garden of the Museum Haus Lange, autumn 1960. 2. Klein behind the fire wall in the garden of the Museum Haus Lange, Krefeld, January 14, 1961. 3. Fire Painting, Untitled (F 77), 1961 - Burnt cardboard on wood. 4. Fire Painting, Untitled (F 97), 1961 - Burnt cardboard on wood. 5. Yves Klein creating the fire painting "The Fire of Hell", Centre d'essai de Gaz de France, Saint-Denis, July 1961. 6. The Fire of Hell (FC 30), 1961 - Dry pigment in synthetic resin on burnt cardboard on wood. 7. Fire Painting, Untitled (F 24), 1961 - Burnt cardboard on wood. 8. Valeur or (MG 23), 1960 - Gold leaf on plywood. 9. Yves Klein creating cosmogonies on the banks of the River Loup, June 23, 1960. 10. Cosmogony of the Storm (COS 34), 1960 - Rain sprayed with dry pigment on paper on cardboard. 11. Cosmogony of the Rain (COS 30), 1960 - Rain sprayed with dry pigment on paper on cardboard. 12. Wind Paris-Nice (COS 10), 1960 - Dry pigment in synthetic resin on paper. 13. Wind of Voyage, Pink Cosmogony with Traces of Wind, Untitled (COS 25), C. 1961 - Dry pigment in synthetic resin on paper on fabric. 14. Ho Ho (RE 34), 1960 - Dry pigment in synthetic resin on sponge, stone and cardboard.

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There is a transformation occurring. I feel more space. In me. In my heart. In my lungs. In my mind. I’m settling into my skin. My skin. Is this the soul? Body. Spirit. Mind. Connected…

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This Deeper Figure Canvas Wall Art is a fine art canvas print from the Marmont Hill Art Collective. Marmont Hill is a collective of artists - spearheaded by Parvez Taj who acts as the creative director. Together we create original works of art which are printed on a variety of materials such as aluminum, canvas, mirror and reclaimed wood. The collective is inspired by people, places and things. Each limited-edition piece is handcrafted with love and care.

Création d'enduits peignés décoratifs sur mesure. Très graphiques, ils habillent un pan de mur, une porte coulissante ou des bars

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