Mindful Stitching is a movement that uses hand stitching to quiet the mind. At least, that's how I understand it.
I've never been into meditation so I'm sure there is more to this movement but I decided to use a running stitch with 4 different variegated threads to cover a piece of mud cloth. Of course, I broke all the rules by listening to the radio while I was working instead of stitching in silence. I've never been a fan of "getting in touch with your inner self" but will confess to having my palm read a couple of times.
I have no idea what I will do with this cloth but I can tell you, the process was fun and fulfilling, and I'm all about process! (AND, I love hand stitching!)
Before all the leaves fall from the trees, I decided to collect some and try to preserve them for creating art. In order to do this, I coat them with gel medium and this seems to work to preserve them for using them as resists or stamps.
One of the things I've learned over the years is when a painting is horrible, keep working on it. Sometimes, your idea and palette doesn't mesh right away. But instead of giving up and throwing the panels out the window, there are several ways you can rescue it.
First of all, stop working on it for a day or two or even a week. Things look different when taking a break.
Secondly, you can always start from scratch and paint over the whole piece with white acrylic or gesso.
Thirdly, (which I used in this case) keep adding more paint and layers.
I worked on this piece for days and finally came out with something I loved. Whew!
Every year on the first Tuesday of September, artists all over the world participate in "Art Drop Day". I've been doing this for several years and this year, I will be "dropping" some artist books in Denver at cheesman Park and the Botanic gardens.
So matter where you live, keep your eye out for surprises along your walking route. I hope you all find some free art that brightens your day!
I'm really having fun doing these black & white studies. After a few pages in my sketchbook, I've come up with a process.
I start by using an "ink blot" technique to provide the first layer. (This is where you squirt black acrylic ink onto one side of the page and then close the book to repeat a reverse image on the next side of the page, creating a spread).
Then, I'm using stencils with black ink. Then I add collage.
It's amazing how adding each step in the process informs the next step. Very freeing and fun!
OK. I took my own advice and started to paint these grind on large sheets of paper, rather than in my sketchbook. Just in case I wanted to frame them as works of art. I'm very happy about how this piece turned out.
Moving from a sketchbook to a larger format meant a change in scale. My sketchbook boxes were 2" x 2" and this piece is 2-1/2" x 2-1/2 inches. Overall, the paper is 14 x 17. A strange size but that's what my Strathmore Bristol paper pad measured.
I'm trying to use only supplies already in my stash but it's hard. I'm always wanting to try out new things but know that working in traditional sizes is the best approach because who can afford "custom" anything"!
Next time, I will order a pad in 9" x 12" that will find matting and a frame at an affordable cost.
Thanks to Jackie Schomburg who was my inspiration for this piece. I used her color palette and ideas for adding black shapes, but other than that, this piece is my own.
I am obsessed with painting in a grid format.
This is the third sketchbook that I am filling up with grid mixed media paintings. Some artists call then "grid journals" but I don't since I don't use words. The reason I love this format is because it allows me to easily experiment with color palettes, mark-making, collage, and other ways to create little pieces of art.
Each square (which is my favorite format) is only 2 inches. I don't think about each square but how all the squares interact with each other together. This gives me freedom not to over-think everything and as my eye roams around the piece, I see where I need more contrast, more marks, and more shapes. Every square turns out differently, even though I'm using the same paints and mark-making tools.
I think the reason I'm obsessed with this is that I can usually make 2 spreads a day and end up with something pleasing, but different than all the grids that I've done before. It's kind of like working in a series but since these paintings are enclosed in a sketchbook, hard to display in an exhibit.
Maybe I should start making these grids on large pieces of paper so they can be mounted and hung on a wall. What do you think?
Another print I made using Fulton Sim's techniques. Find his videos on YouTube by searching “ArtWhisperator88”.
Carol Ann Waugh
I am a mixed media artist and love color and texture!