TEXTILE ART IN PROGRESS, FURTHER DESIGN WORK

 

Partial section of work in progress,  Lori LaBerge  2018

The majority of the week was spent continuing work on a larger piece. The size is 48" X 48" and it is being hooked in a #6 cut. Here are a few close-ups of various sections:

On Thursday, I took a break from the larger work to sketch up some new ideas to work further with. Here's a peek inside the sketchbook:

This was developed from an industrial park that we passed by while traveling. The erasure lines can be seen on the drawing, showing the many variations of ideas used until one came together.

This work did not really come together until I decided to use a half circle. That led to a pathway toward it. I'm looking at orange, grays, turquoise, bright blue, gold, white and black for the color plan.

SEEING TEXTURES

"Spa Day"  14" X 11"  Lori LaBerge  2018

A slight change was made from the original color plan from last week's post. The gray and turquoise on the right were reversed placing them diagonal to their matching colors. A simple change, but the whole work looks much more interesting as it moves the eye more easily throughout the piece.

Textures are important to a work and we don't always see them from a distance so I put some close-ups from "Spa Day" below. 

 Here the bright blues mixed with navy draw the eye to what could otherwise appear as a dark hole in the work.

Grays are always in my go to stash. This textured gray used as-is adds to the work when seen up close.

 

A dull light sage green is punched up with a brighter mottled green in the mint family.

The turquoise in the work is the only wool that is not mottled or mixed with another color. It has solidity and strength giving the eye a nice break from everything happening in the other colors.

STUDIO TIME: PAINT AND TEXTILES

"Modern Dwelling"  14" X 11" acrylic on canvas,   Lori LaBerge  2017 

Painting and rug hooking took over the studio this week. Work from both memory and photographs is leading to more geometric drawings making their way into the sketchbook, onto canvas and onto linen.

Section of studio set-up for work.

Painting started out with a sketch on canvas. Emphasis on the curved shape seen on many of the homes along Mulholland Drive in Los Angeles was created through the use of bright white standing out among the other colors.

Texture was added to the canvas before paint was applied. There was a decision on whether or not to use texture in the painted works. I had pondered going with a smoother technique, but through studying the photographs what appeared from a distance to be smooth exteriors on homes was actually quite textural. 

"Residential Curve" in progress  14" X 11" wool on linen,  Lori LaBerge  2017

Another work focusing on the curve of modern homes is partially completed using wool. The yellow area is looking a bit small right now and may need to be enlarged height wise. The combination of painted and rug hooked work is in the experimental stages right now.

"DOWNTOWN" TEXTILE ART, PAINTING STUDIES

"Downtown"  14" X 11",  Lori LaBerge  2017

Completed this week, "Downtown" gives the viewer a cool relaxing entrance of blues and greens leading into a warmer orange/yellow which is more action oriented and has the meaning of intellect, happiness and success. The bright colors lend an optimistic feeling. It is a place I would love to enter.

Framing for it will be discussed and completed in the next month before it is sent off to its new home, an office space in Los Angeles.

"Among the Blue"  14" X 11",  Lori LaBerge  2017  acrylic on canvas

I am creating a group of painting studies experimenting with various textures and techniques. This work is as if one is standing on a balcony, the lower section of diagonal across the piece, looking out upon the tops of city buildings.

More work was delivered to CVA Gallery in Greensboro, NC. Five of my works will be showing from September 1-November 10 in "Cut and Dyed: A Fiber Arts Exhibition". The reception will be September 1 from 6pm-9pm. The gallery is a strong promoter of arts in the community.

NEW ARCHITECTURAL GEOMETRIC ABSTRACT STARTED

Work in progress,  14" X 11"  Lori LaBerge  2017

A title for this work has not been decided on yet. It is based on city buildings. The white half circle developed from the shape on top of one of the doors on a building, though I placed it sideways. The black circle was divided into 2/3 on the right and 1/3 on the left.

The textured gray section has bits of red running through it to play off of the red sections of the work. There is a bright turquoise and a duller turquoise running through it, also. This gives the gray a bluer look overall. It works well with the red and I'll see how it works once the pink is added.

The idea was drawn out in a sketchbook. There are plenty of erasures before I get to something workable. The photo shows where I had originally placed a triangle in the back. If I think a composition is headed in the right direction, even if future changes may be needed, a check mark is placed next to it.

 Color planning on work,  Lori LaBerge  2017

Photoshop was used to work with color planning. A left section of the black was added to the original sketch along with an angle on the bottom gray.  I wanted to repeat the angle from the red for more cohesion. This will be added to the hooking as I work.

The piece reminds me a bit of mid-century modern design with the bold shapes and wild colors. Mid-century modern was set from approximately the 1940's to the 1960's. It focused on graphic design and included furniture and architectural designs. It was a time when pop art and other ideas were developing. 

Enjoy some wild mid-century artwork and color by clicking here. It may bring back some memories if you were born in the 50's or 60's.

EXPLORING THE TRIANGLE

As yet untitled sketch for artwork created while looking at rooftops,  Lori LaBerge  2017

Some of my recent work has consisted more and more of triangular shapes.Three recent sketches include the form. It was interesting to work on how the triangles relate to each other and the shapes around them. The rectangular bar entering from the right breaks into the bottom of the larger triangle creating depth. The smaller triangle could be viewed as abutting the triangle with the circle or could merely be seen as a section of a triangle peeking out from behind it. 

 as yet untitled sketch for artwork,  Lori LaBerge  2017

The above sketch was also based on buildings and skyline. Trying to avoid depth in the final artwork would be difficult. The sketch, in similarity to the first sketch, already appears to have depth due to overlapping shapes.

as yet untitled sketch for artwork,  Lori LaBerge  2017

The work above was developed from trees in various yards. The straight lines are a division of property. Variance of triangle shapes add interest while color and hooking direction will add more to the work as it develops. The line lengths need to be varied more.

 Architecture makes extensive use of isosceles and equilateral triangles due to their strength.  Each of a triangle's sides act as support for the other sides.

While in Scotland a few years ago we visited the Star Pyramid near Stirling Castle. The pyramid consists of four triangular sides made of sandstone. There are marble bible pages on each side and the structure is sometimes referred to as the Martyr's Pyramid. A chamber was created inside the pyramid before it was completed where a Bible and the Confession of Faith (the beliefs of the Reformed church) were placed.

 A ceiling forming both isosceles(above and below center) and equilateral triangles (on sides)

Two triangular rooftops at either end of a structure

If you wish to explore triangles and architecture more, enjoy some amazing examples by scrolling through Yellowstone  here.

ABSTRACT GEOMETRIC INFLUENCED BY LIGHT

In progress work,  "Intersection",  14" X 14" Lori LaBerge  2017

There is still a little tweaking, but hooking on "Intersection" is done. A metal bar will be placed across the top and a decision will be made whether or not to place metal over the light orange-yellow. 

The work is based on a sketch done looking down on an intersection glowing with sunlight. To portray the spot where light was shining the lt. yellow/orange values and the lt. gray values were placed next to each other, bringing the eye directly to these areas. The light area was then surrounded by gradually darkening grays.

The wool colors behind the orange-yellow and green consisted of black, two dark grays, four medium grays and three lt. grays.

The work consists of values, much as nature does.  

While taking daily breaks from the studio, I couldn't help but notice the abrupt changes occurring in the landscape.

Bright whites and a touch of red among the green on one day led to...

the whites perishing and orange arriving a few days later.

I thought about how the contrast of the white against the green creates a wonderful contrast and how a few days later one would need to use some imagination to visualize the same effect.  The diagonal triangular shape of the white could lead to an interesting abstract piece.

DIPTYCH COMPLETED, TITLE CHANGE

"GeoNight"  diptych, 13" X 10" each,  Lori LaBerge  2017

The second section of "GeoNight" was hooked. It is based on a plein air study focusing on geometric shapes. Shadows, the moon and trees became diagonals, circles and triangles. All art is based on the abstract. If you get the chance to watch a plein air artist work notice how many of them paint out an abstract drawing on their canvas before beginning the painting process.

When learning to draw figures the body is broken down into oval, rectangles, cylinders and boxes to produce the form. The decision to be made is whether to keep a work abstract or to progress toward realism. 

 "Into the Gray"  in progress  24" X 12",   Lori LaBerge  2017

The work above was titled "Unstill Life" when it was in the design process. As I worked out color planning, it became "Into the Gray". I am thinking there are just so many gray areas in life. The more I studied the work the more it spoke to me about trying to organize and how we like to place things and sometimes people in specific categories. The two bowls represent where ideas on different groupings could be stored with the arrow seeming to bring more of those ideas into the gray bowl.

It also brings into account that the road series relates not just to the physical roads we travel, but the emotional roads.

"Inner: The collected writings and selected interviews of Sean Scully" 

I've been a big Sean Scully fan for years. There is something quite mesmerizing about his use of stripes.  Layers of paint invite exploration. I spent quite a while looking at his work "Red Durango" at the Ackland Gallery at UNC Chapel Hill. To sit down and read his thoughts, influences and lectures leads to a deeper understanding of his work.

Art Exercise--

Think about the titles of works. How do they relate to the visual? If you create your own work do you title it in the design phase or after it is done? If you title it before how does this affect the way you approach the work? Do you bother to title work at all?

TWO WORKS SAME DESIGN: CREATING A DIFFERENT FEELING WITH COLOR

"Side Streets 2",  20" x 20"   Lori LaBerge  2017

To those who regularly read this blog the piece above may look familiar. A piece using the same basic design, "Side Streets", was done last year. Here is the first piece:

"Side Streets",  20" x 20"   Lori LaBerge  2016

I rarely use the exact same design more than once. Yet, I kept wanting to revisit this work using industrial felt. This led to a more subtle version. The first version, directly above, used a brighter orange, a pure slightly outrageous yellow and a bright white stripe. It has been sold and placed in a modern environment surrounded by other colorful artwork. There is a sunny, happy, almost childish feel to it with the yellow drawing the eye.

Close-up of "Side Streets 2"

The latest version at the top of the post has a more sophisticated feel to it. The gray felt blends with the background grays, leaving an orange one shade deeper more room to stand out. Stitching on the washers follows the direction of the felt, the longer piece horizontal and the shorter piece vertical. Copper paint was used on the washers to further emphasize the orange. The felt is randomly stitched in black so it won't stand out but be noticed when viewed from a closer position.

Art exercise--

Revisit previous works and draw them out in various colors. How does the feel of the work change? Do you have preferences? Has your use of color changed over the years?

GEOMETRIC ABSTRACT INSPIRED BY ROADWAYS

"Metropolitan"  22" X 55"   Lori LaBerge  2017

The use of repetition shows throughout this piece. There are multiple yellow curves moving across it, vertical and horizontal lines, shades of blues and grays and industrial felt on both the bottom and top sections. The hubcap has curves that relate to the yellow arcs. The lug nut covers, as well as the hubcap itself, mimic the circular shape of the washers attached to the lower strip of felt. There is also a bit of depth to each section.

 Close-up of upper section

A piece of felt was cut into a triangular shape and attached to the hubcap. The felt is randomly stitched with dark gray yarn to add texture.

Close-up of felt and washers

Washers were stitched to the felt and the felt stitched to the rug hooked work. I had thought of using a strip of stained wood, but with the felt on the upper portion the wood looked a bit heavy while the felt brought the two sections together nicely.

Pearl is becoming quite the assistant. It never hurts to have a little supervision.

"GEONIGHT" DIPTYCH CONTINUES, ART GUITAR PICKS

Section One of "GeoNight" in progress,  13" X 10"  Lori LaBerge  2016

Hooking was completed on the latest work and I will be stitching the washers into place this coming week. A finer look was decided on so the work was hooked in a 4-cut rather than my usual 6-cut.

I was going to do the two sections in assembly line fashion by doing pink on one, pink on the other, yellow on one then...you get the idea. I decided to finish section one first so I had a good idea of how the colors worked before the second section was started. The dark blue provided the strong contrast I was looking for.

This is the big month to put together all the notes I've taken for this summer's class at Green Mountain Rug School. I tend to write notes wherever I am so there are plenty of them in various notebooks around the studio. I love putting those thoughts together in an organized form. It will be a four day class, so notes are being separated into multiple activities for each day.

My evenings needed something new so I picked up the guitar my daughter and I won in a music video contest quite a few years ago. I took lessons when I was 17 so I won't say how many years ago that was. I found these cool guitar picks with Salvador Dali works printed on them. Love. I may hit wrong notes, but I'll look good doing it. Looking at various companies to put my own artwork on some picks.

GEOMETRIC ABSTRACTS, DESIGN SKETCHES

Work in progress:  "Cone II"  18" X 18"   Lori LaBerge  2016

I found this week to be a good time to delve into a little bit of everything. The hooking in the second of the cone series was started this afternoon.  

Colors chosen "Cone II"

Some wool was dyed and some I was lucky enough to find on the studio shelves. The top of the cone section will be yellow and green then shift to rust and brown at the bottom. Dark and medium grays will go into the right hand background and medium and light grays in the left hand background.

"GeoScape II"  design sketch

I am continuing to delve into geometrics inspired by plein air study. The above work developed from viewing a tree against the moon and clouds at night. The work could be hung a variety of ways including horizontally as above or vertically as seen below.

I would have included a sketch of the scene done realistically, but unbelievably I am using the excuse that the cat shredded the sketch. She also has broken two vases. Yes, she is still alive and well. Just too cute to get mad at.

 "GeoScape II" vertically

I will be discussing using plein air to create abstracts as part of "The Art of Plein Air" class at Green Mountain Rug School in June.

 "Geoscape III"  sketch

The third in the series is a sketch I made in Florida. It continues my current interest in wood pilings on the water. While clearly abstract it is easier to see the subject matter of this piece than that of  "Geoscape II". Will the colors chosen affect that perception?  

Kandinsky and Klee in Tunisia by Roger Benjamin

While preparing for class I am reading works by some artists that are not thought of for plein air work but created them at some point in their art career. This book takes the reader through the adventures Wassily Kandinsky and Paul Klee had while creating work in Tunisia. Klee's plein air work there led to his increased interest in color. This interest in turn led Klee to turn more and more toward abstraction.

A Happy New Year to all. Join me in continuing to love, view and create art in 2017.