Greetings for the New Year and a Giveaway

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Yellowstone Caldera 

#1700

12"x6"x2"

Pēbēo paints, Resin on Ampersand Claybord™

This year I am going to try something a little different.  I create many samples in order to test different inks and paints.  I often turn these into coasters, magnets or pendants. 

I asked Facebook friends to title the above painting. Diane C. Keever suggested something Yellowstone____.  So I have titled it Yellowstone Caldera. I will be sending Diane a coaster that was made while testing the paints to make this painting. She will recognize the experiment in this painting. 

I am an abstract painter, but over the years I have found that people want a hint in the title of what I see in a painting, and I have come to the conclusion that a title is very important even for abstract paintings---and maybe even more so!  Usually, I like a title that still leaves it up to the viewer's interpretation. Some paintings title themselves just like I often think some paintings paint themselves.  

Watch for the next painting that I paint to see if I ask for a title.  I will keep all the suggestions that I received from this Facebook post and if I should use one of those in the future, a coaster will be coming to the person who titled it.

The remainder of this post is for the artist or crafter who works with resin.

I work a lot on Ampersand Claybord.  I do my tests on the 1/8" flats of Claybord.  It takes some skill to apply resin to small flat pieces and to avoid runoff of the resin.  It is much easier for me to apply resin on a painting that is 36"x36"x2" than it is to apply resin to six 4'x4"x1/8" flat pieces.  

Due to the porosity of the Claybord, the first layer of resin usually does not have a runoff problem.  But additional layers allow the resin to run more freely and over the sides and under the flat panel. Until recently, I was just always extremely careful trying to be sure as little resin as possible would run under the flat piece.  If it did, I would use a belt sander and sand all the resin off the bottom.  This is a lot of work!

In order to prevent the resin from running over the sides and ending up on the bottom, I sometimes use blue painter's tape and cover the entire bottom of a flat panel.  Sometimes if doing a large flat piece 8"x8" or 12"x12" for example, I cut a square of typing paper and only tape around the panel just up to the edge.  The paper for a 8"x8" piece may be 7"x7" and the tape covers the extra inch with just a little over the paper.  This can easily be removed once resin has cured and there will be no resin on the bottom of the panel. 

I ran out of blue tape and had to improvise.  I discovered that Reynold's Plastic Coated Freezer Paper ironed onto the back of the Claybord pieces would prevent resin from building up and having to be sanded off once cured.  It can be a little tricky to determine how much heat and for how long to iron, but with a few practice sessions, it is easy to get it just right.  After pouring the resin and it has cured, then pull the paper off to have a clean back surface.  Here are some photos.

Turn your flat panels upside down on your ironing board.  Cut a piece of freezer paper large enough to cover them while leaving space between them.

Do not use steam, but iron on high heat until paper is attached to the panel.

Allow to cool and then flip over and remove the paper.

Paper peeled right up almost completely clean on all except one of the coaster size panels.

This is one where some of the paper stuck.  It can be removed with water and a scrub pad.

Completed coasters! 

I still prefer blue painter's tape on the back, but using freezer paper is cheaper and if in a pinch, it can be a life saver!

Liquidambar in Pittsboro---Showing new work

I'm headed out the door to Art of the Carolinas.  

The Carolina Mixed Media Art Guild works in the demo room providing demos using vendor products and provides hands on (cleaning tables, changing out water, etc.) support for the workshops.  It is a wonderful experience for our members to enjoy each other's company and to experiment with all kinds of art supplies.  Thank you vendors (too many of you to list here) and thank you Sharon DiGiulio for giving us this opportunity. I think this is our ninth year to work at AOC.

I am one of the featured artists at Liquidambar in Pittsboro from now until the end of the year. The 3D featured artist is Sylvia Coppola. I will be at the December reception on December 4, 2016 from 2:00 to 4:00.  Please stop by to say hi!

Here are a few images of new paintings in the show.  Unfortunately, the photos don't show the depth of the paintings, but you can get an idea here.

Elemental Energy II

24"x24"x2"

In Elemental Energy II, I developed my own gold metallic ink that creates the almost snowflake pattern. Click to see a close-up. 

Yugen

20"x20"x2"

In Yugen, I used a word for a title that I found this definition--an awareness of the universe that triggers emotional responses too deep and powerful for words.  I suppose this could be extremely good or extremely bad.  I hope this one shows the good.

Between waking and dreams

Triptych

24"x6"x2" Each

This triptych required much restraint on my part to stop when I felt I had painted enough. It was hard to stop as there are always more possibilities of patterns that may show up that I have never seen.

This weekend at the former Carolina Artists' Colony in Sanford, we are having an arts and crafts show on Saturday and Sunday.  This will also go on for the month of December.  I delivered some new work there as well.  Stop by and check it out!

Helix of Life

20"x20"x2"

To Infinity and Beyond

36"x48"x2"

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My New Obsession---Pēbēo Paints

About two years ago, I decided to try to paint with oil paints. The alcohol inks that create the patterns that I love to make are becoming more difficult to find. I needed to branch out. 

I have always liked a challenge, but I also like to work with art materials that by their very nature create interesting effects. This is not usually a desired characteristic if working in realism as one may be fighting what the paints want to do and what they were made to do. However, I work mainly in abstraction so these types of paints enhance or provide more possibilities.

After painting with several brands of oil paints, I ran across Pēbēo paints and was hooked. The paints, Vitrail, Prisme, and Moon, out of the bottles create three unique patterns without mixing with other paints, thinners, or solvents. 

The Prisme™ paints create a honeycomb effect. The Moon paints create a marbled or hammered effect. The Vitrail mimics glass. When these are combined, there are many variations of effects or patterns possible.

I have not taken any classes working with Pēbēo paints, but I love experimenting to discover my own style and techniques and possible patterns.

Right away, the primary disadvantage that I discovered was that the paints tend to dry out when 1/3 to 1/4 of the bottle is left and it turns to a thick gunk. The Prisme line appears to be the one that has this problem most often although the Moon line occasionally gets too thick as well. When so thick, the paints lose their ability to make the effects that they were created to make, and worst of all if too hardened, one must throw them out. 

Two weeks ago, I decided that I must find a solvent that would save this last 1/3 to 1/4 bottle of paints. After testing seven different solvents and some thinners, I found one that works!  I have tested this over and over with the Prisme paints, and it has worked every time for me.

This magical thinner is Winsor Newton Sansodor™. Although this is technically mineral spirits (according to my research), I tested three other mineral spirits and could not get them to mix into the paint well and so the effects would not develop once they were added. One of the mineral spirits would not mix in at all and one could pour it off with none of the color of the paint mixing in.

I use a dedicated eye dropper and drop in only the amount that I think makes the paint about the same consistency as a new bottle and mix it well. I suggest dropping a few drops in when bottle is down to 1/4 remaining if not painting soon so it will not harden in the bottle before you get to paint again. 

The viscosity and the applied thickness of the paint determines the size of the honeycomb pattern of the Prisme. I found that I could make a pattern much larger than what is ordinarily created by varying the amount of the Sansodor™.  The Prisme remained workable even after several days.

In the photo below the pattern made on the left had Sansador™ added to very thick Prisme that would not flow at all. It was not solid or dried out, but so gunky, it would not come off of a wooden stick. The one on the right was from a new jar of Prisme.

This is also Prisme that had Sansodor™ added as it had thickened to the point of no longer making a pattern. The resulting pattern was not the mini honeycomb pattern, but a much more interesting design.

Now all is not lost if your ink has become so thick that it barely will come off a wooden stick. 

The pattern below with the texture is a result of thick Prisme and Moon that had not thoroughly dried when I applied resin.  I will never waste Pēbēo™ paint again!

The most important tip that I can give when working with the Pēbēo™line is to never use a tool---brush, stirring stick, eye dropper, pipette---when changing from Prisme to Moon or to Vitrail.  Keep them separate.  Otherwise, the patterns these paints were made to create will no longer be possible.  

I will be demo'ing the Pēbēo products for the Carolina Mixed Media Art Guild at Art of the Carolinas on November 12 at 2:00.  Please stop by to see me and try out some of the products.  

Jerry's Artarama carries the full line of Pēbēo products in their Raleigh store.  They have the large and small bottles of the Prisme, Moon, and Vitrail and many accessories. 

Note added in response to comment below.

These paints are not inexpensive, but it is possible to use them with other mediums.  I did this with this jellyfish painting.  The body/head of the large jellyfish is Pēbēo Prisme and Moon paints.  The border is my own mixture that I developed years ago, but Pēbēo makes a tube of a product that will work to contain the paints.  

   

Preparing for Fall Shows!

It has been a whirlwind in the last couple of months trying to reorganize, regroup, and move on after the Carolina Artists' Colony's closing.

Just a few things I have been working on...

I have added new stock including charms, cards, magnets, coasters and lots of new paintings at Creative Studios in Vass, NC.  Be sure and check out my new work there. There are many classes going on, and it is always fun to visit the on site studios of Jean Kessler Skipper and Jodi Ohl. 

 New coasters have been sent to North Carolina Crafts Gallery in Carrboro, NC.  These are great stocking stuffers for the holidays. This gallery has lots of the finest crafts in the area.  This month, the president of our Carolina Mixed Media Art Guild, Michelle Davis Petelinz is the featured artist there.  Her work is always striking, curated, and displays so beautifully.  

At present I am working on a new show for Liquidambar in Pittsboro.  I will be the featured artist November 6 and December 4.  Just a sneak peek of what I have been working on for that show.  

Ampersand Guest Artist Interview

I am the featured artist this month on Ampersand's blog. If you are curious about my process and how I began working with alcohol inks, you can read it there.  Hope you enjoy!

http://www.ampersandart.com/blog/2016/09/featured-artist-jeanne-rhea/

Huge changes and going with the flow

It has been awhile since I posted here.  Lots of things have happened and I chose to let my blog go in order to create and deal with life.  

The biggest news is that I am sad to report that the Carolina Artists' Colony has closed after almost five years.  It was a wonderful gallery for me and I have made some life long friends.  The owners and managers worked hard to make it a success, but it was difficult to keep it open. Considering that the Colony was open seven days a week and this is a small town, I can see the challenge, but they still did an amazing job for a long time.

I loved that I could hang my work and change it out any time I wanted and no one limited what I exhibited.  But that is all over and I must move on. 

During the month of September, I will be moving my work from the Colony to my studio. Rearranging my studio to hold my work will be a big challenge, but I will make it work.  I am a very organized person, but I have so much 'stuff' that I will need time to make the transition.

My temporary plan is to have a monthly open studio to show my work. Hopefully, after the first of the year, I will have found 15 local artists who wish to start a co-op and work a few days a month and rent space for their artwork. If you are a local artist and are interested in this venture, please email me.

I joined the Sanford Brush and Palette Club and will be exhibiting some work at the Temple Theatre the middle of September.  I also plan to participate in the SBPC's 52nd Annual Fall Art Show in October.

During September and October, I am working on a show that I will be the featured artist for November and December at Liquidambar in Pittsboro. I am attempting to make all new work for that show!

November is Art of the Carolinas.  I will be demo'ing Pebeo paints for the Carolina Mixed Media Art Guild.  We have a Make and Take room and guild members demo products that are sold at the trade show.  If you live near Raleigh (or even if you don't), it is a good time to test new products and buy art supplies, take some workshops and enjoy spending time with other artists.

Here are a few images of recent paintings and experiments.

Enjoy!  

If you wish to be added to a mailing list, please send me your email address or snail mail address and I will keep you posted when I have open studio events!

The above painting is made with alcohol inks, and the large jellyfish is Pebeo paints.  It is coated in resin.

Below are some experiments using metallic paints with alcohol inks. 

The painting below has a new alcohol ink in it.

New paintings

It has been a busy year and I am behind, but gradually catching up.  I am working on a few commissions and that put me behind with my painting a day.

I also realized that to do the types of paintings that I do that it is next to impossible to do a painting a day. So now this blog will focus primarily on what I complete each month and what I am in the process of creating.

These are the completed paintings and a little info about a couple of other experimental projects.

#1628 Night Vision

16"x16"x2"

#1629 Metamorphosis

16"x16"x2"

#1630 Dream Patterns

30"x24"x1.5"

#1631 The Dance of the Jellyfish III

48"x36"x2"

SOLD

 #1632 Flow

#1633 100 Pendants or Charms

I made 100 charms or pendants using some oil paints and some blank metal frames.  I am experimenting with using oil paints similar to my process of painting with alcohol inks.  Instead of using different chemical compositions of alcohol inks, I am using solvents to make patterns with the oil paints.  These are small experiments. Notice the man in the top upper left.  I did not intentionally paint him there, but he just showed up. These have a resin coating on the surface that adds dimension.  All are highly reflective due to the resin so I could not get a good photo of them.

#1634 Don't Stop Now

I accidentally started pouring the resin on this prior to the inks drying. One type of alcohol ink 'chased' the resin away and pushed it over the edge of the board. I will use this technique soon on a painting that I have an idea to do. This painting is not for sale. Just wanted to show it to you. I experiment a lot and almost every day I discover something new.