Light of the Sun...and Heat of the Soldering Iron

Love, embroidered fabrics on fabric/paper ground

I saw this technique in a magazine not long after I started the project (literally years ago now. Gah) and chose it for this piece. It consists of a painted paper/fabric combination, covered in several layers of synthetic sheers, embroidered from the back and cut with a soldering iron.
I did a test one which I sent to someone as a postcard. It was a valuable experience as that one looked more deconstructed than I wanted, particularly in the sun. So I altered my method a little in the final work.

Things went well until I went to cut the picture down and while moving things to get to the cutting mat I burned my hand on the still hot soldering iron. Damn even being better organized than I have ever been in my entire life makes no difference, I still have to move everything from here to there whenever I want to do something. The cutting mat and sewing machine occupying exactly the same space is not working, I need them both at once. There just isn't enough room in there.

Anyway outside of whineyness, it turned out quite nicely, pretty much just how I wanted and certainly better than the last few.

Like a Spotless Lamb

Clean; discharged.

The concept for this is all in the technique. Can anyone recall boring classes in school about how the medium is the message? It was discharged with bleach gel, which is of course a cleaning agent. That's about it.

The paper buckled quite badly and when I applied it to to the black piece it didn't go on straight. I also ironed it and this caused some staining to the piece (because bertha is always covered in goo of some kind). I applied a blur filter to the background so that this would be less distracting in the scan, as it was most noticeable.

I originally was going to do it in black and discharge it out to a gold tone. The black wouldn't discharge enough. Curse those scrapbookers and their insatiable need for the archival and fade-resistant!! But conceptually I felt red worked just as well if not better, even if it doesn't look as well. I did have some problems with discharging the bleach in some places as it was simply drying too fast and I ended up applying it thick and so lost some detail. But ultimately I managed to get the image so I am mostly okay with it.

In The Cloud of Witnesses

Kenaniah, felt tipped and ball point pens, watercolour wash.

This is one of those ones that I like and I don't like at the same time. The main problem being the figures which I did much too quick like and tried to knock back with blue washes, which makes the piece in general look much too sombre. While meant to be singing they look too sad and pained. Damn it would look good if it weren't for that. I knew I shouldn't have done that part while tired at work.

Of course once more I played the partial iconoclast that I am by using the tetragrammaton. This time I tried to tie it into the bizarro notes above, all of which I am reasonably pleased with.
I always thought of this one as Petra's song until Sacred Trust came along. So now there's two of them I guess. Or something. Ha.

No Other Name

What's In A Name, lettered in india ink with various pens

Really what else was I going to do for this one? I did get to try out the expensive drawing board I bought a while back which I had been unable to really test run until now since grandma was driving me too crazy to want to. It's wonderful BTW and much better than the North American ones I've seen, good working angles.
The few b nib (oval) lettering styles really evidence how infrequently I use the b nib, and the second go around spaced the words a little differently than the practice one (from which I liked the layout better). Letter spacing also got rather wonky at times-more on this one than the practice one in fact-still the right justification while not great is also not hideously bad. Really there isn't much opaque white on this piece, so I consider that pretty decent.

Here I Am

Take Me In, felt-tipped marker and watercolour wash.

I like this one. I maintained from the start that it would depict a coal in a golden tong, but the deco/cubist look evolved in my mind over sketches until it became this in the last rendering. I was altering the design to the end. I am annoyed that my favorite grey brush marker has dried out, so I had to go with the next lightest for the lines in the background, and I don't like that grey as much.
I did the final rendering at work, because the full moon is past and the psych patients behaved themselves!

20/20 Vision

God Fixation; ink and crowquill pen

I'm not crazy about the last one, and especially the way it looks in the scan. I posted it mostly because of it's relation to the Athanasius piece. Anyway I want to bump it, so here is this one.

This is all ink, done with a crowquill (the lettering is done with a c4 and c5). The scan makes it look black and blue, but it is in fact brown and blue. This (along with Stand) was the second idea utilizing the shield of the trinity. I decided to put it in latin for some reason. I dunno, that "deus" in the middle of that dilated pupil just looks cool. And I wanted it to be at least a little less man-centred than the actual song is.

You Are the Holy One

Hallowed Be Thy Name, machine embroidered with metallic threads on silk noil and dupioni.

This has not translated in the scan well at all. I am still debating how I feel about the actual piece, particularly since it was a test piece for Athanasius. I know he has been languishing in his desert exile for almost a year; hanging out with Antony, writing subversive letters and whatnot. As history bore out, those complete losers Eusebius and Constantius couldn't keep him down and he is gearing for a triumphal return. There will probably be some rioting in the near future.

Anyway I am not so proficient with my machine work these days (especially since I am still getting used to teh noo machine), so it's a good thing I tried this out. The metallics of course don't show up the way they should. The gold is the only one you can really see in the scan, however in the actual piece I am thinking it is too distracting. I think I need to keep playing with thread colours. I like the copper and I think I am going to go tonal and eliminate the gold. We'll see.

This is the first CIP piece I've done since we ripped up the back room-yes I am still working on it! I'm still not finished the art room-I have to make the curtains and set up the paper hangers yet. There were other minor things I was intending on, but I am getting tired of it and I think that once those two things are done then so is the room.

My hands smell like oil paint from the paintstiks....since you all think I stink anyway, it doesn't matter.

To You I Am An

Open Book, frontispiece; felt pens


Open Book, opened up; felt pens

So, as a constant ripper-offer, I am always trawling about for ideas to steal. When I had been all gung-ho about finding myself a letterpress (before grandma came) I was also into looking at the art of printing, which inevitably leads one back to Dard Hunter.

This piece originally was to look extremely different, but it evolved farther away from the initial design to the gatefold and the layout-all I had to choose was the font and the designs to sit between the text. I ended up hand drawing a Hunter-like text with a classic Roycrofter tulip. I also decided to re-create the type of justification of some of his books.

This was going to be the mock-up and it is done on plain manilla. However the inked piece took sooo long and ended up looking good enough that I decided to colour it and keep it as the final piece if possible.

My colouring was terribly messy, and I'm going to have to see what I can do to clean it up. I've never been so good with brush markers, though I know a lot of people like them. Other than that I think it turned out okay.

I have a secret...

A favorite lyric of mine! Of course Petra would give us the proper interpretation of Ro 7!
Jekyll and Hyde; Acrylic

ETA: I have ran the scan through some filters so it looks a little smoother. Not as much detail, but it's a bit more reminiscent of the actual piece.

This is technically one of the older designs I planned, originally designed as a "masquerade" deco a while before I started the project. I would love to see that deco again!! Still hoping it makes it's way home one day-though if it hits a bunch of people like me it will take quite awhile...

After stabbing myself for the nineteenth time working on the crappy lino for The Coloring Song, I took a break and decided to move on to the painless though messy layers of this. I had to really kick up the contrast to get the image to show in the scan. It is very dark and murky in reality. Of course this also makes the brush lines very apparent, as well as the colour layers beneath. I attempted a pseudo-mische technique with transparent acrylics and gel medium. It worked to a certain degree as some of the layers lifted (so it looks particularly blue in places), so I guess true mische is the way to go for those of us who do not have WMRC in our homes to knock the piece to the floor in the week each layer takes to dry.

Anyway, between this one, The Colouring Song, and Stand I have my "quota" for the month. Heh.

And Having Done All, to Stand.

Stand; acrylic, opaque white, felt tip pen and really foul india ink.

That's right. What else did you expect to see for this song? Didn't you expect me to worm my man Athanasius in to the project somehow? If not then all I can say is you're dumb. *sticking tongue out like petulant child*

I threw all the trad elements in there, the checkered floor, the creed and the heretic. You can think of it as Arius or Eusebius if you like. Personally I like the idea of it being Asenius with Athanasius thinking 'how's that hand now, sucka!?' HA!

Stupidity aside, my ideas seem to be all for revisiting the shield of the trinity right now. I have another piece sketched using it, which I'm thinking is going to look a little freakier. This one does have a medieaval look to it though that is fitting for the shield, doesn't it? Especially since perspective is completely irrelevant in medieaval art. BTW I scanned this before putting the letters in (except the ests I see), but Athanasius is facing the F as he is presenting his creed against the world to the Son. How deep is that!

I discovered with this piece that apparently india ink can go bad as mine smelled as rank as the dead fish my dog used to roll in at the beach. It also did not wash over the floor as well as I would have liked (which is only one of the reasons Asenius/heretic's foot looks all crazy and floaty). All in all there are some things that could be better, but I think it turned out not too bad. As always as long as the thing is in my house, I reserve the right to fiddle with it.

Someone Else Like Me

...doesn't exist, thank God! That would cause quite the spike in the rapture index-rivaled perhaps only by the legging revival. (Now I must go puke because I have thought about leggings).

Self-depreciation aside, I managed to save this from the clutches of WMRC and it turned out more or less okay;


If I Had to Die for Someone; Mohair spun on drop spindle and knitted in lace pattern on 2.5 needles.

I figured it's going to be tiny and I'll do a most simple pattern so it shouldn't take too long and started working...two months or so ago. I forgot that using 2.5 needles means that you will need 2 million rows or so to get the length. I also decided to leave the mohair as a single, which caused problems with breakage when WMRC shooed it through the ENTIRE house. Twice. Fortunately she never got the work off the needle (the ball was the fun part anyway). Also lucky was that hellion 2 didn't see it-he particularly enjoyed the zippy sound of tearing out some knitting of mama's row by row by row by row. Ad infinitium.

I did the spinning with the mohair I got from "Al" (I discovered that is the goat's name) last summer-it was actually the first thing I spun after getting the lace weight spindle and wonderful fibre combs, so it has been laying around waiting for me to start this piece so that it might tickle and itch me all over again. It's rather uneven, but that just made it interesting. Yeah, interesting. I meant it to be that way. Yeah.

I can only say as to inspiration, that I think the line I played off of here is one of their most absurd. How does one get "too old" for keeping warm? Is this caused by middle age spare tire? Hot flashes?

You are NEVER to old to avoid hypothermia, Bob.

:P

We Gotta Take This Message...

Back To The Street, hand drawn, digitally coloured.

Though I suppose it is rather cliche (hey I feel I should do the expected for a few of them at least-that keeps everyone guessing) I decided to do a tag-ish style. I have never dabbled in that type of work much (despite being an old skool rap fan) and found it quite enjoyable. Even the digital colouring. I didn't need to do the careful line work for this one, and I wanted the texture without having to actually use spraypaint. :)

Though I didn't do grafitti per se I have always loved doing odd lettering. Such things as this filled the school hours when I was not skipping and kept me from dying of boredom. In fact these were the impetus of this project-I thought I had more of them since I did this constantly and was surprised of how much of it I had lost. I will resurrect some of the old designs, maybe soon as I loved doing this one.

It's just a matter of time...

Before I get back to work on projects!

I have started a new job at the local regional care home and been working rather regularly (though I am casual). I am trying hard not to make too many mistakes-I feel sorry for the old people who have to put up with me learning. I do make pretty good money at it, plus I am in the health region now so maybe I will be able to get on at the hospital.

I FINALLY received my paintstiks (!!!!) which were ordered back in May and sent to me twice, and now I can start work on Athanasius. It has taken many more months than I expected to assemble the materials for that.

On the CIP front, I have had this one 90% finished for a few weeks (heh), finally got the central logo on there.



A Matter of Time, acrylic, ink and pen

This is one of the Mayan calendars, the Tzolkin (calendar round). I wanted a rounded mandala style for this piece and felt the Mayan would be suitable, as this was a highly advanced ritualistic society which mysteriously devolved and disappeared, almost lost forever in the process. It seemed fitting to use not only a system of measuring time, but the system of a society whose time ran out long before the auspicious 2012 forcasted date. One never does know when one's time is up.



Well, alright, and I think Mayan stuff looks cool. If anyone wants a stela style date, I have been known to make them...:)

A Quarter of the Way!!

Here are numbers 51-53 of the CIP-the solos, encompassing both those from CITAS and Farewell by way of depicting both of Bob's guitars (well guitar and controller) and two Keyboards for John's.



They are ambigrams or inversions. If you turn the sheet upside down they will read the same. This is why they look rather odd. Louie's solo (in the centre) was particularly difficult to invert, and I know it's practically impossible to read too. Ah well. I used pencil crayon for the backgrounds and inks for the lettering. They were designed to reside on a single sheet, the first of the smaller non-ATC pieces done.

I am finally getting to the pieces that are on hold because they need "sheetmates" for lack of a better word. I needed to have most of the pieces designed before they could be rendered so I could figure out how to put them together. I do have about 125 of them designed, and just over the number of the praise albums stumping me. I now officially have more than a quarter of the project finished-if I don't get a move on I won't be finished until 2009. Of course I don't plan on having the project sit at a complete standstill for six months again either.

Useless piece of information: while doing this I got acetone on the computer desk and now there is a lovely bubble in the finish. :-(

No Doubt

Hey I'm on a roll with CIP-and I even managed to get the foot high grass cut in between. Here is the 49th:



No Doubt, pencil crayon

I have often said this is the most tear-jerky song Petra ever wrote. However the last line of the chorus is one I've often pondered and I think is quite profound in it's simplicity. This particular piece is a representation of that line. I wanted to severely crop the hand so it would look a bit odd and hopefully focus on that little seed.

Oh and the line is: "After all is done we find out all we really need to have is no doubt." I thought of holding on to faith (no doubt) through many years and to the detriment of everything else. At first I wanted to draw a scrap which could look worn and old like it had been held on to through hell, but then I thought I should go to more traditional symbolism of the seed. I still dunno if I should have done that though...well I'm good at second guessing.

With completion of this piece I can now delete the 25 pictures I took of my hand with the macro lens from my camera. That will leave only the piccies of the tiles for Magic Words; since I need spray laquer I can't get to that one yet.

Send Revival...

My dedication to CIP (and dressing and bathing and getting out of bed-you know life in general) is reviving. So I am trying hard right now to crack the 50 mark, and in the last couple of days I've completed four pieces, bringing me to a so-close 47. Yes I know then I'll only have 150 songs left...I seem to have miscounted as I keep turning up with 203-206 depending on which songs I include, rather than the former 211. I don't know if I pulled that number out of my rear end or what.

I am unhappy that I will have to move into abstract expressionist territory with most of the praise songs (that is like 30 songs) as they have no real concepts to work with. PPII in particular is giving me trouble; that I have not completed a single song from that album is pretty telling.
This is one of the ones I did indeed have a concept for, abstract yeah, but still somewhat figurative if you look closely enough. I do hope Bob is not an iconoclast...well I am going to stick with my theory that he is a Lutheran which will make it alright. This was originally a sketch in a journal about total depravity (yes I wrote an illustrated book about depravity-it doesn't look as bad as you might think) of Isaiah's vision, which was quoted in the song.


Send Revival Start With Me, watercolour.

Counsel of the Holy

Wisdom shouts in the street,
She lifts her voice in the square;
At the head of the noisy streets she cries out;
At the entrance of the gates in the city she utters her sayings...

Counsel of the Holy, Chalk Pastel.

I was apprehensive about the pastel at first because of it's inherent messyness, but its weakness is also it's strength (blendability) so I went ahead, prepared for a few do-overs. Fortunately it worked out the first time. I didn't blend the outer edges of blue, hoping to suggest the rough texture of a stone wall as Wisdom is meant to be standing at a gate at the "head of the street". I still don't know how well that worked.

I of course also maintained the complementary scheme I have chosen for the album.

My first inclination was to make Wisdom as a nude, and in fact the original sketch she is wearing only the head covering which struck me as funny and therefore not what I wanted to do. I decided to add clothing but maintain the shape of the body, suggesting a sheerness of the dress. Seemed like a good compromise to me. She holds in her hand a lamp (yes that is what it is). It is based on a specific style I have used in the past as illustration for Old Testament concepts, to suggest that wisdom is a revelation of God-as the scripture indeed is.

I've had the hankering to work more lately, so perhaps I'll add to the project more frequently. I always work in fits and starts anyway...and I still don't have any good ideas for those stupid praise songs.

Augustine and other things

Of all the things that have been eating up my time for the last long while, I only have one left-my final practicum. I simply can't wait until I'm finished with it all, I'm going to take a vacation and do nothing but sleep. :)

I did start up with CIP again, finishing three songs from one of their lesser loved albums, God Fixation. Yes, I am indeed still determined to finish! I got going on the main work of the piece, St Augustine's Pears (and no his face isn't that much darker than his hands; the piece is a little warped):




I recently read the Confessions, (from which I used two quotations at my dad's funeral-mom would not allow me to use Athanasius' wonderfully powerful and polemic On the Incarnation-I told her if she's still around when I die, I TOTALLY want Athanasius read! I think I'll put that in my will, as I don't want anyone making the mistake of declaring death natural or good at mine, and I will haunt anyone who says I have gone home!) anyway, I noticed that many of Bob's songs have kind of an Augustinian bent, so I decided to make this a bit of a centrepiece in terms of time and work spent.

This is an egg tempera work, based on modern coptic iconography (not as creepy as normal iconography). I gessoed the panel, mixed the paint et al myself, so it was rather labour intesive compared to what I normally do. I made some intentional "mistakes" to maintain imperfection in the piece. I think it turned out reasonably, considering that it is the second tempera piece I have completed. Tempera is a crazy behaving medium, no wonder oil became so popular when it was introduced!
I may still fiddle a little bit...

All Over Me

Finally got to the city to get some gloss acrylic gel medium so I could finish this one! The song which inspired the last post, this is imputation. I wanted it to look like the blood was literally covering and 'clothing' an otherwise naked figure (which signifies sinfulness of course) . I think it is my favorite one so far-it was fun working with the "blood" (she says while cleaning red acrylic gel medium from every surface within five feet of the painting...).

Yay Quilts

I've got a quilting bug again lately. This makes me happy, as I had been rather burnt out for about a year, and have done little work. I hate being unproductive!

I finished the Hammerquilt-no pic of it, but man it looks really good, all that lovely silk. I just free motioned all over it, tried to keep it a little dimensional in the center, as the original is.

I then got on a quilt version of the blue and red portrait for the Quilting Arts magazine Creative Self Portrait Challenge:



I swear I am not a narcissist! I just thought it would be fun to enter the challenge, and I really love that red and blue pic mmm redandblue....that combo also describes my temperament quite well, though I made the embroidery messy to represent me a little better. I doubt I will get into the magazine, but I know I won't if I never send. It gave me something to quilt, anyway.

And the newest entry for CIP, Yahweh Love, which is also a small quilt. I had to do at least one piece in fabric, and had decided to make this one a quilt, in the same vein as the Biblica Hebraica pieces. It is off center because there is a one inch-margin on the left side.