![]() I have mentioned before the benefits of using a sketchbook or journal on a regular basis. I have several sketchbook/journals on the go, ranging from a watercolour book, one dedicated to en plein air, messy background journal and one for courses I do. Each one has a unique voice and job within my creating zone, each one is special and exquisite with all the flaws. I was gifted by my hubby a beautiful A4 journal last year and that has been my journal for doing grid creations. I have a template I use with the option of four large grids or six smaller grids. In this journal I experiment with colour, shapes, stamps, stencils, materials, mediums, designs and more. Using the grid, I generally work on all of them at the same time. Adding colour, subtracting colour, creating marks, removing marks and challenging myself to be brave and crazy. These grids give me a library of experimentation with no expectation. There are things in there I truly love and other parts I don’t. Each grid or series of grids have a purpose, they are a reference library for future works. I can look back for inspiration, I can see what worked and what didn’t work. I can look at several grids and from those come up with an artwork I would like to produce. Grid work is also a great way to get the creative flow working if it just isn’t happening. Because the grids are small, I can work on a few with only a ten or fifteen minute time frame. This gives me the chance to be creative every day without having to allocate hours. The sketchbooks and journals are precious to me and many don’t see the light of day, they are my safe place to experiment, have fun and practise. They are similar to a diary with your innermost thoughts. On occasions, I share a book with my class to show them how beneficial they are and what I use them for. The photo above is a sample from one of my sketchbooks/journal. Feel free to leave a comment below.
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![]() A few years ago, now, I attended a course that had all of us working on multiple paintings at one time using a grid. I found it to be exhilarating. AT that particular course the substrate was divided into six equal sectors. You worked across the entire painting (abstract) ignoring the tape that divided your work. Once the paint had dried and the final marks were placed on your artwork it was time for the big reveal. As you pulled away the tape, individual paintings came to life. What had looked like a mish mash of paint and marks became beautiful pieces of work to be admired and appreciated. Since completing the course, I continue to use this method when creating mini works ensuring that I keep a loose flow to my pieces. With my open studio happening next month, I have been using this method to create some mini loose landscapes. My Natures Twist series was also completed this way, I laid out my canvas panels along a large table and worked on the pieces as a group as opposed to each individual one. I find colour consistency and the looseness of the work produces artwork I can not create when working on singular work. Do you prefer loose landscapes or my realistic landscapes? Please leave your comments below. Featured Artwork: Half Past Three from the Natures Twist series |
AuthorLee Cummins is a mixed media artist, workshop and art class facilitator. Archives
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