Pack a Punch with Black with White!

Brilliant white and bold black -- they pack power!

Why?  In any artwork, first and foremost, the attention of viewers swings to the area of strongest contrast -- where the darkest value abuts the lightest.

This value scale shows black at the far left. Its opposite value is white.  (Near-black "counts" visually as black and near-white "counts" visually as white.)

So, in developing an artwork, when you position the most extreme dark value (black or near-black) next to the most extreme light value (white or near-white) ... the result?  Visual energy!  

Visual energy fascinates viewers enough to keep them looking at the artwork; its energy coaxes the gaze to travel thru the entire piece before sliding away.  This can happen without our being actively aware of it.  Our brains are wired this way.

Moving forward ...

6" x 6" Bulbs and Banners s955 has made prints on 3 separate backgrounds that were placed together in a series of experimental combinations, all to be shown below.

The topmost print below was made on a black-and-white photo of bare tree branches extending shadows across snow.  Think outside the box when looking for backgrounds for your prints!  Why not use old photo print-outs?

Above:  I made the center print on sturdy gray paper previously scribbled with black and white markers.  

Under that gray print lies a collage that incorporates a partial print.  The area behind that print is paper I'd thickly coated with white acrylic paint before scribbling into it with a shish kabob stick.  Directly below is a close-up of that collage....

Before adhering my original 3-piece arrangement to a black matboard background, I experimented. (After going through all experiments, I'll use heavy-body or extra-heavy-body matte gel medium as my adhesive to cement collage elements into place.)

First experiment:  I flipped the collection 180 degrees.  Then I added other elements; below, the new elements are cut from a print made years ago with a homemade printing plate. 

Below:  Another experiment.  This time, the additional elements are cut from the original drawing I made in creating my design that became 9" x 12" Clustered Leaves L433.

Another experiment:  I removed the collage from the 3-print collection and placed it on an entirely different background....

The above background is Far East novelty paper -- white paper machine-stitched with gold thread in swirling patterns.  It struck me that the squiggled lines behind my print resembled these gold swirls.

Next up, still another experiment.  From the 3-print collection, I removed the print made on a black-and-white photo of bare tree branches stretching shadows across snow. I placed it on a new background which I'd printed multiple times with 6" x 6" Sassy Spray s465.  In making those prints, I'd used black acrylic ink on white paper.  Before choosing that paper as experimental background for the kelp print, I coated it with zinc white acrylic paint.  Since zinc white is translucent, the effect was to turn black and white to gray, as you see here ....

What prompted me to experiment with this alternate background? Once again I was struck with a similarity between the tree branch shadows and the patterns created by multiple prints of Sassy Spray s465.  To my eye, the combination of similar patterns creates unity across the entire artwork.  Unity holds everything together.

6" x 6" Sassy Spray s465

To wrap up today's post, I suggest you 

(1) notice the way value contrast can liven up an artwork and

(2) avoid marrying the first idea that comes down the pike. Before committing to something with adhesive, experiment with other options. It's fun!  Your brain cells will dance!

The bold look of black linked with white will continue in my next post, tomorrow. Thanks for stopping by here today! To scroll thru the pages of my stencils and masks at StencilGirlProducts.com, please start here.

Note: My go-to method of print-making is to use a sponge brayer loaded with heavy-body acrylic paint. (Somewhat similar results can happen with Gelli Plate prints.)  

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My Brand-New Designs with Brusho and Brusho Crayons

When you start using Brusho color crystals, you quickly discover that each color contains "hidden surprise" colors; these become visible when activated by water or other liquid. The best way to introduce water, in my opinion, is by using a spray bottle ... a spray bottle that's gentle in its output.

"Less is more!" Just a few sprinkles of Brusho and just a few sprays of water go a long way.  Don't be like me and try to overuse these art-making tools!

Brusho bottles are color-labeled on the front of each, but for quicker and easier viewing in the Brusho box, I've written the color name of each bottle on its lid.  And I've added notes about each of those colors, as shown in my photo below.

Notice the small brush at the bottom of this photo.

My method for applying Brusho crystals is to dip a small DRY brush into a color, hold the brush over my substrate, and hit the brush's handle with my free hand.  This scatters the dry crystals down onto the substrate.  Your substrate can be mixed-media paper, watercolor paper, stretched canvas, Yupo or any other surface sturdy enough to support water without warping.

In some of today's art samples I've used Brusho crayons....

Above:  the new kelp design measuring 4" x 4" (M339) with Brusho crayons.

Brusho crayons are simply plain clear wax crayons.  Any brand of clear wax crayon will do.  You can even use the bottom of a thin white candle. (Without flame! LOL) 

I've learned there's a Brusho Basics book, which sounds much more comprehensive than the other two Brusho how-to books that exist (altho its description leads me to think that it covers a lot of territory that won't ever interest me.)  Last time I checked, interestingly, the book cost $ 31 - 50 at Amazon, for used copies; $46 - 48 at Amazon, for new; and isn't available at all at Thrift Books, where there's a request waiting list.  The Brusho manufacturer itself (in the UK) sells the book very cheaply -- but by the time shipping is added, the cost runs around 25 USD.

Amazon is one of several online places where you can order individual colors of Brusho crystals.  You'll find as you continue to use your starter set that you will run out of some colors faster than others.

Sometimes I spray the substrate with water before adding crystals; sometimes, afterward; sometimes both.  Other times, I use a paintbrush dipped in clear water to spread the colors of the crystals that are already hydrated on the surface of the substrate.

I often use Brusho crystals alone -- but they pair well with regular watercolors, "metallic" watercolors and Golden High Flow Acrylics.  I don't recommend acrylic inks. But that's a matter of personal preference, so be open-minded and have an attitude that you'll try anything at least once!

Above:  the new kelp-inspired design that measures 6" x 6" (s955) is rested on a sheet of all-media paper.  Atop it, I first sprinkled some Brusho crystals.  Next, I added a little yellow Golden High Flow Acrylic.  Last step:  A light spray of water across the paper.

When the acrylic paint had dried partway, I lifted off the mask to see the above results.  There is danger in leaving a mask or stencil sitting too long in wet acrylic paint, since acrylics naturally act as adhesives.

Below:  A sequence of photos shows the same approach using 9" x 12" Kelp Forest L963.

Above:  My first step was using the Brusho clear wax crayon to outline some of the shapes that make up the overall design. (If you lose track of where you've used the wax crayon, just test the open areas on the mask or stencil design with your fingertips. Or shine your smartphone's light across the surface)

Above:  I've scattered on a few Brusho crystals and lightly sprayed the whole surface with water.  It may not look like much yet, but a slight scattering of these crystals goes a long way once enough water arrives!  See below...

Above:  I've sprinkled on a few more Brusho crystals and again sprayed the whole surface with water.

Below:  This is what resulted from those additional crystals and spray of water.  The mask has not yet been lifted off the paper.

Before lifting off the mask, I placed printmaking paper over the wet surface shown above.  I pressed the paper with both hands to make sure its entire surface touched the whole surface under it, making sure to avoid sideways movement that might dislodge the mask (which was still resting in its original place atop the paper.)

Above:  I carefully lifted off the printmaking paper to reveal this monoprint.

As a last step, I lifted off the mask.  Below is the print that was created as my next-to-last step in making the monoprint.

Originally I had planned for the print, above, to be the star of the show, but once I'd made the monoprint, I liked it even more.

My newly released designs are 9" x 12" Kelp Forest L963, 6" x 6" Bulbs and Banners s955 and 4" x 4" Seabed Greens M339.

Please come back tomorrow for more ideas on ways to use stencils and masks! And thanks for stopping by today!  To scroll thru the pages of my stencils and masks at StencilGirlProducts.com, please start here.  To subscribe to this blog, please send your request and email address to stencilfun@yahoo.com. You'll be added to the subscription list.

Back Story on Kelp (and More!)

Each of my three new mask designs is based on kelp formations -- yet, each is unique; they are:  

9" x 12" Kelp Forest L963...

6" x 6" Bulbs and Banners s955 ...

and 4" x 4" Seabed Greens M339. 

Back story:  Walking the beach at Cali’s Carmel-by-the-Sea, I found masses of Giant String Kelp (also called Bulb Kelp) abandoned on sand after tides had swept it ashore.  

Above: Taken onshore, this particular photo doesn't show large bulbs, but it does show a few small brown ones, tangled in with the greenery that inspired the part of my design elements that I call streamers.  The textured growths inspired my 6X6 Seaweed 6 Stencil s099.

 

Bulb kelp is a form of algae capable of photosynthesis.  

Making art with these 3 new releases, I didn't limit myself to Pacific greens and blues; instead, I opted to see these as abstract designs -- so my inner child could emerge to play with any colors!

In playing with these new designs, I've used Brusho watercolor dry pigment crystals, Brusho wax crayons and heavy-body acrylic paints.

Today's post starts with demo photos that focus on my favorite way to use those acrylics.

about my brayer technique:

Above, I've squeezed out some heavy-body acrylic -- in this case, using two colors -- and I've started to load the sponge brayer with paint by rolling it downward multiple times over palette paper.  ("Sponge" brayers are also called "foam" brayers, sold as art supplies for children.)

Below, I have started rolling the loaded brayer over a stencil that's secured to paper with masking tape.

In the two examples above, I've combined two colors -- since pairing colors adds fun to any brayering project with masks and stencils!

Using either a foam (sponge) brayer as I do, or a Gelli Plate, you can get similar results.  I encourage trying both methods!

In the following photos, I'll show some of my results from using my sponge brayers. 

An upcoming post will go deeper into the two-color approach, hinted at above.  

Today's art samples, however, were created using only one top-layer color.  You'll see that altho I've limited myself to using only one color, I've done it as a last step in developing complex images that have visual history.  I've used a single color but other colors peak out from under it.....

Above:  As a top layer, I've used opaque pink heavy-body acrylic paint and 9" x 12" L963 Kelp Forest.  Directly underneath lies a middle layer, made with the same mask, but using translucent red-orange acrylic.  And the bottom layer, still faintly visible thru the top two coats of paint, is a print I'd made with green acrylics and 9" x 12" Boxed Vines L247.

I chose this print for a base since, to my eye, my "boxed vines" design blends in a friendly way with the imagery in my three new releases -- thanks to the flowing curves that dominate, and the circular shapes that are tucked in among those flowing curves.

Because I like this design-blend, I continued to use "boxed vine" prints as my substrate for making 4 more prints.

Thank you for your visit today! For the coming week or so, I'll make daily posts suggesting ideas for using my three brand-new designs.  Coming up ... Brusho colorless wax crayons ... "melting" color crayons ... a whole new way to use stencil- or mask-prints in collage ... and more.  I hope that my art samples will send you off on your own art-making adventures. 

To subscribe to this blog please send your request and your email address to stencilfun@yahoo.com, and you'll be added to the subscription list.

To scroll thru the pages of my masks and stencils at StencilGirlProducts.com, please start here.

Release of 3 New Designs Today!

Today's post introduces my three new designs!

9" x 12" Kelp Forest L963.

In this 9” x 12” design, Giant String Kelp (aka Bulb Kelp) swirls underwater offering 3 views that start with a close-up of bulbs and streamers flowing from them.  In another area, bulbs and streamers float in the distance.  A third area captures more bulbs and streamers riding the current, farther away still. Kelp “forests,” during growing season, can shoot up 2 feet per day, to reach 250 feet of height!   

6" x 6" Bulbs and Banners s955.

This 6” x 6” design frames a strand of Bulb Kelp (aka Giant String Kelp) as it bobs under ocean waves. Emerging from the bulbs are textured green ribbons that ripple like banners riding on the wind.  Here, those banners are still pointing downward (mostly visible on the lower right), but this stalk of kelp will soon shoot vertically up toward sunlight that shimmers on the water's surface. 

  

4" x 4" Seabed Greens M339.

Giant String Kelp (aka Bulb Kelp) anchors to a rocky seabed and sends green cables ("strings" is a misnomer) up to the water’s surface.  This form of algae is so sturdy that sea otters wrap themselves in its green cables to avoid floating away while asleep.  Measuring 4” x 4“, M339 is the right size for artsy fun on a business trip or vacation.

I'll be making daily posts for the next 7 days or so, showing my art-making adventures with these new masks.

Have you ever tried Brusho watercolor crystals?

 My Brusho crystals have been around a long time. But it's only recently that I've used these watercolor dry pigments with Golden High Flows.  

I'm delighted with what happens when these two media work together on my 3 brand-new releases!  You will be, too, if you like the "loose, painterly" look....

  

Above:  A print made with Kelp Forest L963, using Brusho crystals and Golden High Flow acrylics on Yupo, a synthetic substrate with a smooth surface -- you might even call it a slippery surface.  (You'll see it called "paper" but a more accurate description would be "plastic.")

My personal preference is to use these media on Yupo or some other smooth surface, as shown above.  But I love experimenting, so I tried this approach on textured watercolor paper, just to see what might happen ...

In contrast with my print on Yupo, the example above (made with only a part of Kelp Forest L963 ) flaunts brighter, more intense color.  

But, setting that aside, notice the subtle difference created by the texture itself.  These subtle differences between substrate textures can work toward developing more variety in your range of artworks.

Experimenting helps all of us grow as artists.  So let your imagination take every leap! 

 I hope you'll stick with me as I make daily posts, for a week or so, while I play with my three new releases.  I'll go into more detail about using Brusho (and Brusho clear wax crayons) with step-by-step demo photos and write-ups.  I'll do likewise with my playtimes using heavy-body acrylic paints .... and "melting" color crayons ... and trying a whole new approach to collage using stencil- or mask-prints.

To subscribe to my blog, please email your request, with your email address, to stencilfun@yahoo.com.  I'll add your email to my mailing list.  (Please be assured that I don't sell email addresses!)

Thank you for stopping by today! To scroll thru the pages of my masks and stencils at StencilGirlProducts.com, please start here.

 

Tomorrow! 3 New Designs! Kelp Goes Wild with Color!

 A design is a design, no matter its origin.  Altho tomorrow's 3 new releases were inspired by kelp formations, I use them with all colors -- not just blue and green.

 I suggest you try anything and everything!  Don't worry about "outcome!"  Perfection would be boring if it were attainable!  Besides, if you don't like your first print -- or second or third -- you can always print or collage over it.  Everything is a learning experience and nothing is wasted.  The overall goal is to have fun!  When you're having fun, you automatically create your best art.

Above:  The new kelp-inspired 6" x 6" design (cut free from its outer square frame) was used on the far left; 2 scissor-customized parts of the new 9" x 12" design have been likewise cut free and added in the center and on the right, forming one image that to my eye flows across the page with a visual "action" like the rolling along of tumbleweeds.  Step-by-step photos showing this piece, start-to-finish, will be posted here in one of the 7 or so daily posts to follow tomorrow's release.

Above: The new 9" x 12" kelp-inspired design has been used with opaque green-white acrylics over a background I'd created on foil giftwrap paper using 9" x 12" Boxed Vines L247. (The blue dots are collage.)

Above:  The new 4" x 4" kelp-based design has been scissor-altered (removed from its square outer frame), then used to make a trail of prints across an earlier print.  The opaque red acrylic covers most of the background but lets glimpses of it peek through.  To my eye, this kind of subtle complexity enriches any art.

Above:  The new kelp-inspired 6" x 6" design (cut free from its outer square frame) was used with light blue opaque acrylic paint on paper previously printed with one of my four Abstract Composition Backbones Masks.  After that blue print had dried, I cut it out and used it as a collage element on marbled paper I'd purchased.  The colors go well together as a happy accident!

Tomorrow all three of the new kelp-inspired designs will be released. They will show up here, with links to take you to their page at StencilGirlProducts.com.

On this blog, I'll be posting daily ideas for ways to use these new releases. Daily posts will last for a week and several more days beyond.

April 27 will bring 3 Brand-New Releases

On April 27, three new designs of mine will be released at StencilGirlProducts.com.  They form a set that comes in 4" x 4" and 6" x 6" and 9" x 12", but each design is unique and is each is available for separate purchase.  All of the designs are based on formations of Giant String Kelp (one type of seaweed found in the Pacific northeast and elsewhere in the globe.)

Here are a few sample pieces that will be talked about in posts that will start here, April 27. Daily posts will continue for a week or so.

 Stencils = a quick, easy and fun way to make art!

I hope these peeks into the near future will inspire you for making art of your own!  

To scroll thru my stencils and masks at StencilGirlProducts.com, please start here.  

COMING -- 3 new Designs to be Released April 27!

 I knew a little about Giant String Kelp before I got the idea to create this set of 3 brand-new designs, but I made it my business to learn more before fully developing the designs and then writing about this type of algae (it's a family of seaweed found in the Pacific northeast and elsewhere in the globe.)  Why did I become interested in kelp in the first place?  Sea otters!  These otters wrap themselves in the tops of these "strings" to avoid floating away while asleep.  Yep, they fall asleep while riding the rise and fall of ocean waters.  

Sea otters aren't in my new designs -- but this kind of kelp is!  Here are a few glimpses of art samples that I'll be posting daily, for a week or so, starting on the April 27 release date. 

 

May these glimpses ahead give you a few ideas for making art of your own! 

Stencils = a quick, easy and fun way to make art!

 To scroll thru my stencils and masks at StencilGirlProducts.com, please start here.  

Business Envelope Sized Greeting Cards

 The April 2023 Party Call exchange of stencil-printed art is now underway in the StencilGirl StencilClub.  This exchange provided a fun challenge for me, since I'd never designed greeting cards of a size and shape to fit into business-sized envelopes.  Linda Edkins Wyatt, a fellow designer at StencilGirlProducts.com, is the brave and energetic soul who's leading the exchange, and  business-sized greeting cards are her brainchild.

A fellow member of StencilGirl StencilClub has Messaged me and in so doing, prompted me to add to this earlier post.  

It's rare to find greeting cards shaped to fit business-sized envelopes.  So the idea might throw some people.  

One approach I suggest is making a template for the project.  First, fold a sheet of copy paper in half.  Place it under a business-sized envelope.  Trace around the envelope to reveal the parts of the paper that need to be cut off, since those areas wouldn't fit into an envelope of this size and shape.  Cutting off those areas leaves you with a template of copy paper; just unfold the copy paper and place it atop the background paper for the greeting card.  Trace around the copy paper; then cut that out. Voila! You now have a perfect-sized background, ready to be decorated into a greeting card.

Of course, some people will just take measurements and work from them in getting the right size for the background paper.  I dislike doing that myself because I never get measurements exactly right.  It would help if I would buy a better quality T-square!

I'll be exchanging with only one other StencilClub member, but once I got going, I liked the challenge so much that I made three of these greeting cards....

The print on the greeting card above was made using 6" x 6" Ferns Stencil s100.   This stencil itself looks like this:

Below:  Today's second greeting card, also made to fit a business sized envelope, was created as a collage built with pieces of prints made using 9" x 12" Garden Montage L652....

Garden Montage L652 itself looks like this:

Today's last greeting card, sized to fit a business envelope, is below. 

The figure above was cut from paper printed multiple times with stencils and masks including the 4-piece collection Abstract Composition Backbones Masks.  (The background paper on the greeting card is actually a lighter blue altho here it appears nearly black!) 

These masks, shown below, provide guidelines that can serve as scaffolding in developing abstracts with composition that pleases the eye.

6" x 6" Abstract Composition Backbones Mask 1 s864

6" x 6" Abstract Composition Backbones Mask 2 s8655

6" x 6" Abstract Composition Backbones Mask 3 s866

6" x 6" Abstract Composition Backbones Mask 4 s867

I'd decided to use a vertical format in making my greeting cards, but a horizontal format could be even better!

Do you love making greeting cards the way I do?  Have you tried making them long and narrow, to fit into business-sized envelopes?  Challenging ourselves is always a good idea!

Thanks for visiting my blog today!  To scroll thru the pages of my masks and stencils at StencilGirlProducts.com, please start here.