Michelle Ward/GreenPepperPress Blog

in the mix

July 8, 2011

Over on the Street Team we are paying close attention to the mix that occurs when we work with paint. Sometimes you start with two colors but end up with a whole range in between. While we look at those blends we are also noting how much fun it can be to observe color naming, and will attempt to claim a few names of our own. Hop over and see the creative mess I made on the living room wall trying to find the right color, with supplies from my studio. Come over and play!

With color mixing on my brain I decided to pull out some old work – from college! I had this phenomenal teacher who taught me so much – not only about the properties of color, but of perception. It really was theory and practice*. She required that we mount our work on gray mat board, type the objective and analysis, insert all in plastic sleeves and present in a three-ring binder. It seemed like a pain at the time but I am so happy to have these past assignments. Thank you Ms. Fargo. She also made us use gauche vs. acrylic, and we had to purchase sable brushes ($$$ for a college student) so we would leave no evidence of strokes in the work. I appreciate having learned that discipline but love bending the rule now – the strokier the better! I want my work to look like a person made it, textures and all. Why try to make a perfectly smooth swatch of painted surface that could easily have been cut from colored paper?

Here are some of those assignments….This first one had a limitation that we choose a hue on the opposite side of the color wheel than our favorite. My old fave was red so I went with green. That began a new love affair with green. It lasted for nearly twenty years until I went back to red.

Then there was this one – created from magenta, yellow, cyan, white and black. You should have seen my work table. Hundreds of scraps of painted stripes of color and then heaps of cuttings and retired exacto blades.

And this…the Chroma Bridge…such a fascinating exercise to blend two hues to find all the middle steps.

I faked out the Chroma Bridge below with photoshop. A few steps of hitting gradation between two colors then isolating into rectangles. It is a quick cheat…but like I said earlier, I really appreciate that I had the opportunity to learn the rules the real way first.

I have to name 2 through 8 for Crusade No, 53. Any suggestions? Take a stab at it.

Thanks for all the kinds words regarding my articles in Art Journaling and Somerset Studio. I will be talking more about it soon – so stay tuned. Have a good weekend.

* in theory and practice may sound familiar….it's part of the subtitle of the recent HIM album 😉
in the mix

July 8, 2011

Over on the Street Team we are paying close attention to the mix that occurs when we work with paint. Sometimes you start with two colors but end up with a whole range in between. While we look at those blends we are also noting how much fun it can be to observe color naming, and will attempt to claim a few names of our own. Hop over and see the creative mess I made on the living room wall trying to find the right color, with supplies from my studio. Come over and play!

With color mixing on my brain I decided to pull out some old work – from college! I had this phenomenal teacher who taught me so much – not only about the properties of color, but of perception. It really was theory and practice*. She required that we mount our work on gray mat board, type the objective and analysis, insert all in plastic sleeves and present in a three-ring binder. It seemed like a pain at the time but I am so happy to have these past assignments. Thank you Ms. Fargo. She also made us use gauche vs. acrylic, and we had to purchase sable brushes ($$$ for a college student) so we would leave no evidence of strokes in the work. I appreciate having learned that discipline but love bending the rule now – the strokier the better! I want my work to look like a person made it, textures and all. Why try to make a perfectly smooth swatch of painted surface that could easily have been cut from colored paper?

Here are some of those assignments….This first one had a limitation that we choose a hue on the opposite side of the color wheel than our favorite. My old fave was red so I went with green. That began a new love affair with green. It lasted for nearly twenty years until I went back to red.

Then there was this one – created from magenta, yellow, cyan, white and black. You should have seen my work table. Hundreds of scraps of painted stripes of color and then heaps of cuttings and retired exacto blades.

And this…the Chroma Bridge…such a fascinating exercise to blend two hues to find all the middle steps.

I faked out the Chroma Bridge below with photoshop. A few steps of hitting gradation between two colors then isolating into rectangles. It is a quick cheat…but like I said earlier, I really appreciate that I had the opportunity to learn the rules the real way first.

I have to name 2 through 8 for Crusade No, 53. Any suggestions? Take a stab at it.

Thanks for all the kinds words regarding my articles in Art Journaling and Somerset Studio. I will be talking more about it soon – so stay tuned. Have a good weekend.

* in theory and practice may sound familiar….it's part of the subtitle of the recent HIM album 😉
happy 4th!

July 3, 2011

From my favorite American Idol, James Durbin, before he was a contestant. Not slick, not even in focus…but remarkable, and so him. Wishing a safe and happy day to you.
happy 4th!

July 3, 2011

From my favorite American Idol, James Durbin, before he was a contestant. Not slick, not even in focus…but remarkable, and so him. Wishing a safe and happy day to you.
yesterday’s mail

June 26, 2011

Before this year I think it had been 2007 since I wrote for Stampington. There was the article in February (here), which led to a piece in Art Journaling, then one for Somerset Studio….which evolved into a column!

When I showed you the detail from one of the memorials I created, I never dreamed it would end up on the July/August cover.  It has a special layer of sentimental significance…since July 10th is the third anniversary of Shannon's departure. It feels like an awfully big stage to express a sister's love, but only you and I will *get* it. The other two memorial boxes are for my Grandma & Grandpa Campbell, and my Grandpa (Bumpa) Kelly.

Both of these new issues are terrific. I'm a huge fan of AJ – love seeing the artform celebrated with so many juicy pages. I think Christen has really made her mark since taking over SS – launching some fresh and fun changes that are a pleasure to see…have you noticed?  Also in this issue are friends Anne, Lynne, Teesha, and Seth too!
yesterday’s mail

June 26, 2011

Before this year I think it had been 2007 since I wrote for Stampington. There was the article in February (here), which led to a piece in Art Journaling, then one for Somerset Studio….which evolved into a column!

When I showed you the detail from one of the memorials I created, I never dreamed it would end up on the July/August cover.  It has a special layer of sentimental significance…since July 10th is the third anniversary of Shannon's departure. It feels like an awfully big stage to express a sister's love, but only you and I will *get* it. The other two memorial boxes are for my Grandma & Grandpa Campbell, and my Grandpa (Bumpa) Kelly.

Both of these new issues are terrific. I'm a huge fan of AJ – love seeing the artform celebrated with so many juicy pages. I think Christen has really made her mark since taking over SS – launching some fresh and fun changes that are a pleasure to see…have you noticed?  Also in this issue are friends Anne, Lynne, Teesha, and Seth too!
fathers and forefathers

June 24, 2011

On Father's Day ~ a call to my Dad, some gifts for my husband. Feeling like a lucky girl for the men in my life. A hug for my brother as we met him and his family for a few days in Washington, D.C. In the land of our forefathers, stacked with history….we walked past the White House, the Washington Monument, the Lincoln Memorial, and here….where we have been before, but not quite like this. At first I was stunned by the quantity of roses and remembrances, written letters and lilies….standing at attention, beautiful and proud…..then I recalled, it was Father's Day. Like Memorial Day, and Veteran's Day, THIS was another occasion to visit the wall, offer a prayer, give thanks, and nod in respect.

The next day we visited Arlington National Cemetery and the nearby Marine Corps War Memorial. More nods of respect. Honor. Gratitude. So much history to learn and relearn as we visited many locations in the city. So many reasons to return another time.
fathers and forefathers

June 24, 2011

On Father's Day ~ a call to my Dad, some gifts for my husband. Feeling like a lucky girl for the men in my life. A hug for my brother as we met him and his family for a few days in Washington, D.C. In the land of our forefathers, stacked with history….we walked past the White House, the Washington Monument, the Lincoln Memorial, and here….where we have been before, but not quite like this. At first I was stunned by the quantity of roses and remembrances, written letters and lilies….standing at attention, beautiful and proud…..then I recalled, it was Father's Day. Like Memorial Day, and Veteran's Day, THIS was another occasion to visit the wall, offer a prayer, give thanks, and nod in respect.

The next day we visited Arlington National Cemetery and the nearby Marine Corps War Memorial. More nods of respect. Honor. Gratitude. So much history to learn and relearn as we visited many locations in the city. So many reasons to return another time.
who writes that stuff?

June 15, 2011

As I mentioned earlier, I met some friends, Andrew and Beryl* at the Princeton University Art Museum to see the Kurt Schwitters exhibit. I was very familiar with his work and looked forward to seeing it. As with any show you attend, there is so much to experience when in the presence of the Real Thing. I'm not talking about the man, known as a prolific artist in his vast arena of interests**, I'm talking about the art. It was a singular experience to really see all the layers in his work and the subtleties that can't be pulled off in a printed publication of his art. The shadows of paper edges that catch the light. The observation of a painty fingerprint. The transparent quality of some of the papers. The scale – larger or smaller than you imagined.

But can I tell you one more thing? I fell in love with the blurb writer. You know what I'm talking about….the descriptive narratives that hang on the walls, that accompanies a grouping of pieces? They were interesting to read, well composed, and enhanced my overall experience. Seriously. I hung on every word. I took notes since I loved the way the writer picked just the right terms or adjectives.  Unfortunately they were sold out of exhibit books so I couldn't tell you if the copy on the walls came from the text of the book. If it didn't, you gotta give a *high five* to the writer. Is it the curator who writes it? Who is given that assignment? Never have I given so much attention to those blurbs. Being an article-writer myself, I can totally appreciate a finely crafted description. It's not easy to do. Kudos blurb writer!

* We missed you Katherine.

** In addition to working with collage and paint, KS wrote poetry and prose, children's books, self-published what we would call zines, he designed theater sets, and wrote librettos too!

For these Ruby Tuesday pages (started them yesterday) I tore the cover from the Princeton publication, then filled the pages with my note-taking evidence. I know this about myself – if I don't tear the little pages out and put them in a journal they will got lost in the shuffle and part of the magic of my experience will evaporate.

Here's one thing that rose to the surface: collage. It is a skill he was comfortable with and truly mastered. Collage - an artform I used to shy away from claiming for myself. Why? Not sure. I think because it has been an overused description of modern work that appears to be contrived and unauthentic.   When I am among artists I would never use collage as a way to define the work I do. However, when I am with non-artists I mention collage and they nod along, somehow getting the picture. How crazy is that? When I was at this show I learned that KS used collage as a means to inform his segue into abstract painting. I could see how that would work. He used collage as story telling – using a train ticket stub to celebrate the advances in travel. He found richness and history in worn and faded ephemeral elements but equally loved the attractive freshly printed poster with bold typography. He used it all.  Nothing was too precious, or too perfect.

I really resonated to this: He reclaimed for art things another artist might simply have discarded as by-products of the artistic process. Don't you love that? I'm thinking about the studio table scraps I put onto pages….or the grunged up craft paper that protects my table getting used in my art. I click with you KS.

Or another: Collage anchors the world of art to the real world of current events and everyday life with the mess and confusion that accompanies it. See? He's an evidence collector! A-ha. I get it. It's ok, you can call me a collage artist now.

The show runs through June 26. Get there if you can. The show is fabulous, there are many other terrific things to see within the walls of the museum, as well as all around the gorgeous campus.

See here: Princeton University Art Museum

EDIT: Andrew informs me the exhibit travels to Berkeley Art Museum in California, August 3–November 27, 2011
who writes that stuff?

June 15, 2011

As I mentioned earlier, I met some friends, Andrew and Beryl* at the Princeton University Art Museum to see the Kurt Schwitters exhibit. I was very familiar with his work and looked forward to seeing it. As with any show you attend, there is so much to experience when in the presence of the Real Thing. I'm not talking about the man, known as a prolific artist in his vast arena of interests**, I'm talking about the art. It was a singular experience to really see all the layers in his work and the subtleties that can't be pulled off in a printed publication of his art. The shadows of paper edges that catch the light. The observation of a painty fingerprint. The transparent quality of some of the papers. The scale – larger or smaller than you imagined.

But can I tell you one more thing? I fell in love with the blurb writer. You know what I'm talking about….the descriptive narratives that hang on the walls, that accompanies a grouping of pieces? They were interesting to read, well composed, and enhanced my overall experience. Seriously. I hung on every word. I took notes since I loved the way the writer picked just the right terms or adjectives.  Unfortunately they were sold out of exhibit books so I couldn't tell you if the copy on the walls came from the text of the book. If it didn't, you gotta give a *high five* to the writer. Is it the curator who writes it? Who is given that assignment? Never have I given so much attention to those blurbs. Being an article-writer myself, I can totally appreciate a finely crafted description. It's not easy to do. Kudos blurb writer!

* We missed you Katherine.

** In addition to working with collage and paint, KS wrote poetry and prose, children's books, self-published what we would call zines, he designed theater sets, and wrote librettos too!

For these Ruby Tuesday pages (started them yesterday) I tore the cover from the Princeton publication, then filled the pages with my note-taking evidence. I know this about myself – if I don't tear the little pages out and put them in a journal they will got lost in the shuffle and part of the magic of my experience will evaporate.

Here's one thing that rose to the surface: collage. It is a skill he was comfortable with and truly mastered. Collage - an artform I used to shy away from claiming for myself. Why? Not sure. I think because it has been an overused description of modern work that appears to be contrived and unauthentic.   When I am among artists I would never use collage as a way to define the work I do. However, when I am with non-artists I mention collage and they nod along, somehow getting the picture. How crazy is that? When I was at this show I learned that KS used collage as a means to inform his segue into abstract painting. I could see how that would work. He used collage as story telling – using a train ticket stub to celebrate the advances in travel. He found richness and history in worn and faded ephemeral elements but equally loved the attractive freshly printed poster with bold typography. He used it all.  Nothing was too precious, or too perfect.

I really resonated to this: He reclaimed for art things another artist might simply have discarded as by-products of the artistic process. Don't you love that? I'm thinking about the studio table scraps I put onto pages….or the grunged up craft paper that protects my table getting used in my art. I click with you KS.

Or another: Collage anchors the world of art to the real world of current events and everyday life with the mess and confusion that accompanies it. See? He's an evidence collector! A-ha. I get it. It's ok, you can call me a collage artist now.

The show runs through June 26. Get there if you can. The show is fabulous, there are many other terrific things to see within the walls of the museum, as well as all around the gorgeous campus.

See here: Princeton University Art Museum

EDIT: Andrew informs me the exhibit travels to Berkeley Art Museum in California, August 3–November 27, 2011