I felt pretty good about my studio endeavors recently. Bumbling along, working intuitively had been
paying off. My work ethic has been good
and I’m putting in about 25 hours per week on my art. Then yesterday, I had this seemingly brilliant
idea to go to Michaels and buy some new stamps.
The rubber stamps weren’t marked down like I thought they would be so I
was on to other things. I checked out
clear stamps and acrylic blocks but that was pricier than my budget. Then I gravitated over to stamping
embellishments and found some walnut ink sprays. I have worked a lot previously with walnut
ink in the manner of watercolor with my mixed media work and thought the sprays
would be convenient for ATCs. I did buy
an almost filigreed design of a tree that is quite delicate. I thought I followed the directions the way
they were presented. I stamped with the
special quick dry ink called Versa, and then sprayed on the walnut ink. I was left with a tar-like color and the stamp
ink never resisted the water-based ink so the image was lost. Not one to give up easily I did three more,
all to no avail. I was left with a brownish
inky mess on my little ATCs that had started out as wonderful collages. Now,
I’m wondering what the lessons in yesterday’s foibles are. I’ve tried googling the walnut ink sprays but
haven’t found any additional directions to what I already have. I feel a little hesitant to return to the
studio to face yesterday’s mess. I’ve
already thrown away the four ATCs and created one new one that roughly does
what I wanted, sans walnut ink. I enjoy
my intuitive style and fast pace of working but I am still mystified by what I
did wrong with the inks. Maybe today I’ll try a hardier style of stamp that
isn’t filigree-styled or return to my mandala paintings. When all else fails, experimentation is a
great option. This art card, which I call, “In the Pink,” uses some
experimentation. I have been playing
around with overlaid transparencies for a while and this is one of my first times
of using that media with collage. I also
used die-cuts, shaped scissors and stamping. In addition, I tried glue dots for
the first time.
While teaching painting and drawing at the School of the Art Institute, I was always drawn to the Codex Borgia . Sadly, seldom did I actually find ways of incorporating that gorgeous, ancient, illustrated manuscript into my lesson plans. I would just go through the book of images and savor them on my own. Now I understand why it was calling out to me. It is the tool of healers, diviners and scribes--it contains prophesies. It is going to take a while, still, but some day I will understand the lessons it seeks to teach me. Now in "Mama Nature's Spiritual Guide to Weight-loss" as I write, I am finding my book is being fleshed out by Aztec and Mayan deities. They just showed up and wanted in. I find myself questioning their appearance and loving it all at the same time. Pictured above is Aztec Goddess, Xochiquetzal, pronounced Sho-chi-ket-sal. Her name is in the language Nahuatl. The first part Xochitl (flower or to flower) and the second Quetzal (bird of splendid fe...
This is my first visit from over at CED and I have spent way too much time checking out your blog and all your lovely lovely work... no help on any sort of stamping questions sadly, but looking forward to following your work....xx
ReplyDeleteTracey:
ReplyDeleteThanks so much for stopping over from CED! I appreciate the compliment--love that year-long project. Also, I seem to have figured out the resist/walnut ink issue today in the studio--yeeeeaaaahhhh!