What do you use for studio/work light, when daylight isn’t enough?
It’s not that it matters greatly, if I put my mind in “flexible” I can knit, spin, read, doodle, playwork play on the computer and one day, when perhaps the outside gets more comfortable, work in the garden or ride horses. But still, I find myself some days wishing I could paint when I had planned to do so.
I’m really finicky with lighting temperatures. Not too cold and blue and definitely not your typical cosy yellow everyday lamps. It’s especially bad now with the new energy saving bulbs, which are of course a good thing, just not for colourwork.
Over the window of my office I have a “biolux” fluorescent tube which emulates daylight, I use it in winter to make days longer and brighter, and it’s not directly made for artwork, but it’s not bad. 36W/6500 K (I think it’s this one). The thing is, my office is not big enough for painting, especially since my cats are determined to share the table. Also when it rains, best place to shake your muddy paws, drop by for a bit of love and perhaps a dry lap for transferring moisture before they head back out. And any obstacles are to be climbed on, basically. Right behind me on the floor 1 large dog for tripping over (used to be 2). I have no door…. See where that’s going?
So, obviously a 120 cm tube like that with a standard, open fixture isn’t very pretty in the middle of a living room ceiling, although it might help a bit. So, do I care? Does anyone have better suggestions? Or do you just work in the dark/good weather?
I’ve been dreaming like crazy lately, well, I always did, but sometimes it gets really active in there at night. Last night I was also dreaming about images, not just the usual surreal “movies” where I’m not even Pia and the places I visit don’t exist IRL. I’ve often complained that if I had half the imagination when I’m awake I’d have 20 books worth of material as well as a dozen movies.
Unfortunately I can’t remember the images, but it was definitely about art/painting. Lots of white with little bright splashes of colour. I’ve dreamt about art before, but not all that often, once I did an exhibition of paintings that MOVED – and no, not computer screens. So, usually it’s stuff I would not be able to recreate when I’m awake.
But…. when you think of it – it’s still MY imagination that is creating these dreams, both the stories and the images. So not all of it is rational, but the degree of creativity surely exists in there in my subconscious. If only I could open the door wider.
Maybe it’s just a matter of my excessive brain chatter getting in the way. Maybe something else is holding me back, I haven’t been able to figure this out yet. I really, really would like to. Just give me access to the raw data and I’ll know how to shape and organize it into coherent form I’m sure! Wow, then I’d be on a roll….
Meditation hasn’t yielded anything yet. Nor dream journaling, it’s too hard to explain in ordinary language. As I said, surreal. I know how it feels to be “in the flow”, but I can’t seem to call it forth, I have to wait for it to happen, which is very frustrating. And once you’re frustrated, nothing is dead sure to be happening!
And before you say anything, yes, I did try to capture those fading colour impressions from the dream on paper. But – meh. I think too much. Thinking is great if you have your motif all planned out. With abstracts? Not so much. Even tried lefthanded. Maybe I should start drinking – I wonder what my abstracts would look like after a bottle of bubbles? 😉 (Most likely I’ll fall asleep. I’m such a partygirl. Not.)
Sometimes dreams do have answers though, or so it seems. The night after I wrote last Tuesday’s post I dreamt the solution to some of my questions – however, as soon as I became aware enough to get up and write, it was gone, I only remembered that is was a two step process. That is another problem with too detailed and long dreams, important stuff happens in the middle of them but only the last one is clear (if you’re lucky) when you wake up. I’m pretty sure I’m not supposed to take up horse archery… (it would be fun, but needs, wants, number of holes in my head etc.)
It appears I have to develop a habit of waking up faster. 😉 Ack, old age calling…
So, do any of you use dreams in painting or writing, or is it all just nonsense? All the absurd stuff clearly belongs in the shadows I think, but surely the richness of imagination belongs on the other side too?
I had a version of this with a woman in it – but can’t seem to find it in my archives.
I think I’d particularly be interested in the writing aspect myself, because visually I respond more to other things. I’m playing with another “right-brain” technique at the moment, which I read about a while ago, but more on that later. The answer it gave me to this particular question was, however, just as surreal as my actual dreams (literally: “you can try fetch milk daydream on every summer”) So maybe it is so – dreams are dreams and awake is awake, and perhaps they meet at dawn, but only to catch a glimpse of each other.
At least I rarely suffer from sleep paralysis these days, because THAT is just seriously annoying! All the articles say it lasts a few seconds or minutes, but what it feels like is sometimes hours. And yes, I can remember everything, and no, it’s not interesting to write about. Just plain spooky and repetitive.
And I know many of my posts at the moment are about thinking, not doing. I am in fact also doing, I just don’t have anything I’d like to show just yet. Will I ever? No promises… I enjoy the actual process of writing and I want more of that, whether anybody ends up reading it is actually secondary. But it still has to be interesting enough to keep at least my own attention. 😉 (let’s see how many are with me this far)
It seems nature also has a hard time waking up this year, cold, brown, shabby, miserable. No real signs that juices are rising or buds ready to explode, everything on hold. Hares not playing, no birdies singing to each other, just chirping their heads off for food whenever somebody opens a door or window. It might be wise to just go with it, stay dormant and slow while it lasts, not push ahead and get burnt by the late frost as a result….
I decided I wanted another blanket covering the box by the stove, and that it would be a fine way to test some of the plant dyed yarns. The original lid has white cloth on it, not very practical for cats with muddy paws.
The plan is to leave it there and take new pix after summer and after a year, after wash etc. to see how lightfast they are. Especially useful info for the tapestry project!
To make it sturdier I decided on a felted blanket, so I knit some squares very loosely, then threw it in the washing machine with soap flakes which are neutral and should not disturb the colours is my previous experience.
Start size: 75×85 cm, rather a lot larger than my swatch had indicated!
Size after 60 degree wash: 46 x 47 cm
Blocked: 50 x 50 cm
Colour development: No loss but some seem to have changed a bit. I guess I’ll have to find those skeins in the box and compare.
Yarn used: 185 g
I’d expected to have to do another 90 degree wash and perhaps tumble dry AND handfelt a bit on the long side. It must have been the larger size and being washed with other items, because it ended up smaller than I wanted in the first wash. So instead I had to block it a bit. Actually I should have blocked it more, but whatever.
I used the same yarn base for all squares, and they were identical when I assembled them – so it’s quite funny how some now look smaller than the others. It’s fine, I meant it to be a bit random and organic looking. Now to see if I can get used to all that yellow. I’ve been saying that it’s amazing how nearly all plant dyed yarns seem to go well together. Well, they don’t quite. When I’m done with this, suntesting etc. I think it might have a meeting with an indigo vat. Which in itself will be interesting!
Of course just now we won’t have any sun to speak of for about a week at least, so the photo conditions are not the best. But could I wait? Noooo….. I’ll have to compare colours to the remaining skeins. But it looks pretty much the same as what I put in the machine. Some plants are there twice, but dyed with different methods or mordants/modifiers.
I’m going to have to follow up later with the actual real colours in proper light, it’s just too dark here inside and out.
Filtetæppe
For at komme i gang med at bruge noget af mit plantefarvede garn, besluttede jeg at lave et lille tæppe til brændeovnstaburetten. Den har et lÃ¥g med hvidt stof, ikke sÃ¥ smart til dovne katte med mudrede tæer, men vi har hidtil bare “midlertidigt” haft et spejdertæppe lagt hen over.
Så jeg tænkte jeg samtidig kunne bruge det til at lysteste nogen af planterne og strikkede derfor nogen meget løse firkanter af hver sit nøgle garn, så jeg bagefter kunne filte tæppet uden at ende med et bræt. Jeg har primært brugt de ældste fra 2011 fordi jeg også går og lurer på, om de falmer i sig selv af at bare ligge.
Det blev lidt rigeligt stort i forhold til min strikke-vaskeprøve, men jeg smed det frisk i maskinen pÃ¥ 60 grader med sæbespÃ¥ner og et par hÃ¥ndklæder. Jeg havde egentlig regnet med, at det ogsÃ¥ skulle tumbles og mÃ¥ske vaskes pÃ¥ 90, men det kom faktisk mindre ud af maskinen end jeg skulle bruge! SÃ¥ det mÃ¥tte lige blokkes i stedet. Start: 75×85 cm, efter vask: 46×47, blokket: 50×50.
Farverne ser ikke ud til at have ændret sig i styrke, men nogen virker anderledes, så jeg må nok have kassen frem og finde de respektive nøgler, så jeg kan sammenligne. Sjovt nok er nogen af firkanterne mindre end de andre, altså filtet uens, for jeg har brugt samme garn hele vejen igennem. Men det er helt ok. Nu skal jeg så lige se om jeg kan vænne mig til alt det gule. Ellers ryger det i en gang indigo når jeg er færdig med at teste lysægthed. Der kommer et opdateret billede af de reelle farver, når vejret er til at fotografere uden blitz.
Yesterday I decided to play with my small test tubes of the new(ish?) Golden Open acrylics. Yes, play 😉 and picking some new to me colours as well, india yellow and sap green, with white and ultramarine. I’ve been feeling that I sometimes want to get away from the very bright carnival colours without going brown and grey, you know?
The Open series are supposed to dry slower than regular acrylic paint, but without the smell of the oil and turpentine. As well as staying wet on the palette even overnight.
And they do take their time drying. But it seems that they get sticky with the brush just as fast as the others, or nearly so, and then just stay that way – forever. In fact one canvas done with medium is still slightly sticky this morning. What I was looking to get was a fairly long blending time on the canvas with no brush tracks. Copious amounts of medium helped a bit, but also worked as a glaze. I did a couple of washes with and one “abstract” background without. Just randonly picking up paint, apply, pick up more and try to blend the two areas.
So I wondered if anyone out there had another or the same experience? I don’t mind the longer waiting time as long as I get the longer working time, but one without the other seems pointless. Or is it the no skinning and palette useability that is the actual deal? The pamphlet says “can be reconstituted for a period of time (an hour) once set, using water, fresh paint or mediums.”
I’m looking for something to replace my W&N Galeria when they run out or get to sluggish and it seems Golden is all the rage these days. I already have a hard time squeezing them out of the bottles compared to the couple of newer tubes I have, and thought perhaps that’s why I was experiencing stickyness. The sample Golden Fluids I have do the same though.
Maybe I’m just working too big a surface. (50×50 cm in this case) Doodling away in one small corner works very well if you have your painting all planned, but not if you’re just going to wave your arms a bit and see what happens. Remember, I’m trying to learn to be intuitive about it. Absolutely almost non-thinking. Sometimes I think you have to visit all the extremes to find your middle ground?
So today I’ll try fewer colours in the first round wave, when it begins to get sticky I’ll go at it with fresh paint and water (I thought I was doing that yesterday, but….) Maybe I use too thin layers. Will have to test a thick coat in one corner. (having only those very small tubes)
Put up a whole bunch of nails around the house to keep my umpteen unfinished masterpieces away from cat claws.
Assembled a pile of canvasses all ready to go in various sizes. Having the frames sitting around in the hayloft for years was obviously one of those times when hoarding is quite ok! And enough canvas for about 30 pictures.
Ready, steady, go!
Well, apart from the annoying realization that I can no longer use the staple gun. My hands are too sore and weak to press it all the way in, leaving the tacks to fall out completely or sticking out of the board halfway. I had to call in an assistant after doing just one, and a very poor job of it. 🙁 I don’t know if it’s just because I clipped the hind hoofs of my Arabian the day before, also very hard on the hands when you’re an amateur (and have really small hands to a very large tool). Or if I need to switch to pre-framed $$$ canvas or paper or boards in the future. Didn’t make it any easier that I’d decided to try gallery mounting with the tacks at the back, rather than along the edges like I used to do. Tricky!
I also found some photos of some of my first paintings, acrylic on very large watercolour paper 50×75 cm. Not a complete collection unfortunately, and I suppose I should scan these. You might say I ought to use that until I improve my skills, but I do like canvas. And well, I have the canvas but no paper…. Also you can keep painting over canvasses more times! 😉
we actually had this in the dining room for years. When we had one… 100×150 cm or something painted on an old bedsheet.
Funny thing is: I definitely think my taste has improved as well as my skill in the years not painting – INSIDE MY HEAD. This means I have a lot more pressure now, because obviously my muscle skill hasn’t improved one bit in the meantime, but I know I won’t be happy with what I did then. Some of the subject matter yes – but not the execution. There’s maybe I few that I still like and some I’d just as soon paint right over.
It’s not that I have a lack of projects at the moment, I do have a list of things I want to work on, so I don’t technically need a stream of new ideas coming in right now, that are not related to those projects (but if they come, they will be registered of course, can’t stop the flow).
But I still have trouble with the intuitive, playful aspect, just “closing down logic and see what my hand wants to do with a brush”. And I think that is possibly what it preventing me from aquiring the “skill” I feel I need or the ability to be happy with what I produce here and now. My brain really, really wants to know where we’re going before we even take the first step. (and keeps asking “are we there yet?”)
But I’ll keep leaning into it. Today however I have a visitor. Who is probably going to ask: “Why can’t you paint one picture at a time?”
I have absolutely no idea what I had in mind when I did this decades ago. But Birdie wanted to know how I intended to use my watercolour paper.
Ikke flere undskyldninger
SÃ¥ er der banket søm i alle ledige vægge for at beskytte mine halvfærdige skilderier fra kattene. Jeg har samlet en masse lærreder, nogen gange er det en fordel IKKE at have oprydningsmani, for der lÃ¥ jo lige en hel stak rammer pÃ¥ høloftet og bare ventede pÃ¥ jeg gik i gang igen! Der er jo for en formue i materialer… Ellers kunne man jo male pÃ¥ kraftigt papir, men sÃ¥dan noget har jeg faktisk ikke pÃ¥ lager i stor størrelse.
Desværre var mine hænder for ømme og svage til at bruge clipsemaskinen. Håber det kun er fordi jeg klippede hove på den ene hest i går, for jeg var nødt til at bede om hjælp efter bare 1 lærred, som i øvrigt ligner noget der er løgn på bagsiden.
Jeg fandt ogsÃ¥ en stak fotos af mine første malerier (under en oprydningsrunde 😉 ), desværre ikke alle. Jeg har helt klart ændret smag i mellemtiden og forventer nok ogsÃ¥ en noget bedre kvalitet i udførelsen, hvilket jo er tÃ¥beligt, for mine hænder har jo ikke udviklet deres kunnen undervejs.
Jeg har stadig lidt svært ved at give slip og bare lege billeder frem, og det er muligvis derfor jeg ikke er tilfreds med det jeg producerer. Min hjerne vil åh så gerne vide, hvad vi skal frem til på forhånd. Men jeg bliver ved med at skubbe lidt til muren og fjerne en sten hist og pist, på et eller andet tidspunkt braser den vel sammen.