"LIGHT IN THE CITY" DESIGN, STUDIO UPDATE

I hope everyone had a Merry Christmas!  We had a wonderful holiday and since I have a hard time staying away from the sketchbook, there was even time to work out a new design.

"Light in the City" design phase  27 X 36  Lori LaBerge  2013

This piece will continue the abstract "Road Series" of work.  It will be the tenth in the series and I am not sure how many will complete the grouping. 

The design started with a rough sketch:

I enjoyed working on "Coastal Route", an earlier work which consisted of small squares. This piece follows that idea.  A metal bar will be placed over the piece where the top quarter ends.

Color was added.  The square on the upper right on the sketch was halved in size which added more interest and fit the composition better.  The large rectangle led to the title of the work as it will represent a traffic light.  The smaller blocks make reference to city blocks and buildings.

Color was changed as the brick red wasn't working for me.  The division of color allows the eye to travel throughout the piece better than the single red color did.  

The final design as shown at the beginning of this post.  White lines were added indicating travel routes and dots were added to more easily visualize how the washers, which will be used over the large rectangular section, will look.  Next on the list is ordering more wool and linen!

While I did not work on any plein air hooking this past week, there were some new works placed on the Plein Air Hooking Artists site before the holidays.  See them here.  I was lucky enough to receive these from my daughter:

Wonderful warm fingerless gloves and a hand warmer.  What better to have when hooking out in the cold.

Whatever your interests (my Dad has found his knack for cooking during retirement), enjoy the creative process and have a great day.

STUDIO UPDATE:

Yes, sheetrock is up and completed.  This weekend will consist of priming the ceiling and walls.  Final inspection should come soon. 

A view from front to back of studio.  Appliances are still waiting to be placed.

View from back to front of studio.

Workshop area, opposite studio area, where a garage door will be placed for easily moving table saws and other larger equipment in and out.

Long storage area between workshop and studio.  For storing picture frames, packing boxes, etc. 

WINTER TREES PLEIN AIR, ABSTRACT "WHITE COLLAR", CREATIVITY

It's the time of year when the chill in the air reminds us of the coming winter.  So far, we've only had a few flurries.  Looking at the trees in the woods brought me to thoughts of the holidays and the chance to work on my first winter plein air piece.

"Winter's Dance"  4 X 6  Lori LaBerge  2013

There is something about winter trees that makes me feel relaxed and peaceful. The majority have lost their leaves and there is a chance to view the structure.

 A foggy morning brings a sense of eerieness to this tree (or maybe it was the coyotes howling) with bottom branches on the left appearing ready to collapse.  I love the imperfection of it.

The tree second from left has broken off, leaving it feeling lonely among its taller neighbors.

Interesting to see how one branch fell into the nook of another forming an "X", as if it tried to break its fall.

The lone color left in the woods on the side of our driveway.  A lovely orange against the grey blue sky behind it.

So often we forget about the bottom portion of a tree and how it grows.  The roots here are reaching out in all different directions and blend into the pine needles beneath it.

I also worked on starting the hooking on "White Collar" this week:

"White Collar" in progress,  16 X 20 Lori LaBerge  2013

I've decided to take next week off from blogging to enjoy the holidays.  Those of you who have been reading regularly know how I love the lectures offered through The Great Courses. They have a new course on creativity (so it is on sale) and I downloaded it yesterday.  I can't wait to heat up some hot chocolate, hit the couch, turn on the computer and listen to a professor talk about imagination and developing ideas.

Creativity has always fascinated me and I received two posts this week that show the results of a creative mind.  Please check out:

Susan Feller's post on her grouping of November studies.  Notice the variety of materials she employed and how she approached her subjects.  Very informative and inspiring.

Patricia Winans post on her solo show.  Her subjects range from traditional to abstract to mixed-media.  She also wrote a beautiful piece that expresses how similar peoples' experiences are.

A very Merry Christmas to all! 

ABSTRACT RUG HOOKING STARTED, A WALK IN THE WOODS

While working on "Blue Collar" I was contemplating the thought of a companion "White Collar" piece.  I developed a multitude of ideas for the "Blue Collar" project while it took longer to develop the "White Collar" design.  Perhaps because I veer toward industrial design.  After a walk in the woods I started fresh.

 This was the easy part.  The piece had to match the size of the first work which was 16 X 20.   There was some brainstorming done as to what items relate to a white collar worker.   

I decided on an office building as a background and used this photo taken in Asheville, NC to start the design process.

The photo was then simplified through both drawing with Photoshop and using available effects.  Drawing on the computer is just like drawing on paper  with the use of a wacom tablet.  It can take getting used to drawing on the pad and seeing the drawing appear on the computer screen.  I painted over the center section as it will be used to hang a men's tie.  I will create a header on the top of the hooked work which will be collaged with newspaper depicting stock market numbers.

 I do not trace a design onto the linen.  I always draw the design free hand onto the backing.  This just seems to work out better for me as I do not have a light table and it can be difficult to see through the linen to the drawing beneath.  This method gives me a better feel for the design itself.

Here the design is ready for the hooking to start.  Not only is the computer in the background used for design, it plays some pretty good music.  Work, like life, is just not the same without music. 

  Colors were chosen.  I wanted the grays to be herringbone, like a man's suit, to go along with the white collar theme and give a business like feel.  The piece will be predominantly various whites hooked together.  I found a bright white yarn in a box and may mix this in with the wool fabric as it is nearly impossible to get a bright white wool fabric.

Earlier in the week, when running into problems with the design process I went for a walk in the woods.  We live on ten acres and the wooded section has some nice open areas. Its amazing how a walk can clear your mind. Here are some shots from my morning out.

This pine cone found a cozy home as it fell among pine needles nestled in the deteriorating section of a fallen tree.

The weather is starting to take its toll on plant life as flowering sections begin to fall in preparation for winter.

The homes of all sorts of creatures can be found both above and below.

There was still color to be found but it, like the leaves. will soon be gone.

Enjoy a walk in the woods, or simply around the neighborhood, clear your thoughts and have a great day.

PLEIN AIR STUDIO WORK, LANDSCAPE COLORS, WINTER COLOR PALETTE

"Abundant Color"  12 X 12  Lori LaBerge  2013

The holiday season is upon us and "Abundant Color" was completed just before Thanksgiving Day.  The bulky yarn for the tree was found in a bin in the studio and overdyed to give it depth.  The color pops against the blue sky, making it the focus and the grayed greens in the background do not pull attention from the tree.  This is one I may find difficulty parting with.  Next will be framing decisions.  I have been framing the 4 X 6 landscapes in modern gallery 8 X 10 black frames.  This piece has the feel of needing a more formal landscape frame.

Since working in the outdoors, the colors of the landscape have been on my mind.  I found a great book written for painters.

  

Color Mixing Recipes for Landscapes has over 500 color ideas.  The index is set up according to subject.  Need a color for the foliage on an Aspen tree, its there.  Yes, its that specific.  Colors for soil, wheat, tree trunks, the sea, skies, rocks, etc. are included. 

Though it is a book specifically for mixing paint, experienced dyers should be able to get an idea of what color dyes to mix to achieve similar results.  I cannot wait to hit the dye pot. The book is available through Amazon here where you can take a look inside of it.  There is also one for portraits which I have not seen but which can be found here.

We had our first ice storm this week.  I have never hooked snow and this year will be my chance to tackle it.

  

I put together a partial winter palette of wool.  Winter colors are beautiful.  They are so much more that just white.  Look closely and there will be blues, grays, lavenders, pinks and off-whites in addition to other colors.  The skies may contain subtle shades of yellow, pink and even the appearance of green.  The dark colors of evergreens and tree trunks contrast with lighter hues.  

  

This grouping would not complete the palette, but it is a good start.  I would like to add one or two warmer colors, depending on the scene created.  It is a good grouping of values as can be seen in the black and white photo below.

Take a walk on a sunny winter afternoon, enjoy the colors that surround you and have a great day.     

MIXED-MEDIA, PLEIN AIR STUDIO WORK, STUDIO UPDATE

The hooking section of  "Blue Collar" was completed this week and the time has come to start some serious thinking about finishing options.

"Blue Collar" in progress, Lori LaBerge  2013

An old pulley found at an antique shop was spray painted a darker color to show up against the yellow and blue.

I then set the piece on the studio table to work on the design process.

A piece of wood from which the pulley will hang was placed above the hooked work. I still need to find a metal part that it will hang from.  Since silver was the only color chain in the studio, it was used to get an idea of how the planned black chain will look.  

I'm thinking the sides will be framed, but I have a few other ideas.  A piece of wood will be placed on the bottom with a cutout for the excess chain to lay in.  The chain will be stitched onto the piece randomly to prevent it from sliding over the pulley.  Since my husband and I are still working on building the studio and workshop, the finishing of this project may be on hold for a while. Mainly due to this:

A start on packing up the old studio.  Proof that sometimes things get worse before they get better.  If I need anything specific before the first of the year, I may be in trouble.

I also started work on a 12 X 12 studio piece inspired by a smaller plein air work.  It will be a combination of hand-dyed yarn and wool cloth.

"Abundant Color"  in progress,  Lori LaBerge  2013

My husband and I are spending our evenings working on the studio. Here is an update on this week's construction:

Siding was placed on the peak of the porch, I started painting the entry door and Pete started placing the stone tiles on the porch floor.

More insulation was installed on the interior wall of the studio.  If you need insulation installed, I'm your girl as I am quite experienced right now.

Tile was placed part way up the bathroom wall.  This is a messy job and we found it helped to placed nails between the tiles to keep them from shifting down the wall before they dried in place.  

Pete placed more electrical work for the vent which will go over the stove/oven. 

 A closer look at the stone tiles being laid on the front porch entry.

So often, I feel as if a week went by and nothing was done.  I can see from the above that I really did get something accomplished this week.  Write down or photograph your accomplishments during the week, look them over at week's end, realize how much you really did get done and have a great day.

LEARNING FROM ABSTRACT AND REPRESENTATIVE ART

Lately, I have been thinking about my work in abstract as compared to my more representative work in plein air.  What draws me to each of them and what am I learning from each one?

"Coastal Route" and "Birch Memories"  Lori LaBerge  2013

Abstract, usually of the geometric variety, has always attracted me.  I tend to see abstract as:

          -- emphasizing color, line and shape

          -- creating from the mind, with ideas not visually seen in the real world

          -- veering more toward design, pattern and geometry than plein air work

          -- being less comfortable for the viewer, requiring more thought to understand

          -- tending to be distorted, simplified or exaggerated

          -- relaxing the need to have things proportional or in correct perspective

"Speed Bumps" and "Fall's Beginning"  Lori LaBerge  2013

Plein air or representative landscape work I see more as:

          -- emphasizing light , shadow, and depth

          -- allowing for sense of place or "wanting to be there"

          -- lending itself to a recognizeable subject, more comfortable for viewer

          -- being based on what the eye actually sees

          -- lending itself to more accurate colors

          -- tending to have accurate perspective and proportion

          -- creating an illusion of reality

"Night Ride" and "Blue Ridge Shed"  Lori LaBerge  2013

In general, if asked, I would say abstract is the more creative of the two, while representational is the more technical, though both creativity and technical ability are required for each style.  This is where I find why I enjoy working with both.  I love creating pieces in my mind and looking at things a different way for abstract and learning more about drawing and other core art skills with representational plein air.

Abstract grew with the creation of the camera.  If a camera could capture reality, why paint it?  Abstract artists sought to capture that which the camera could not.  Plein air does not have to be representative as more artists are exploring abstract aspects of this type of work and redefining their art.

"Time to Go"  and "Autumn's Start"  Lori LaBerge  2013

There are many exercises I have experienced that can help an artist grow and learn. Here are just a few:

          -- from my college studio art class -- breakdown a representative painting or photo into squares and notice the abstract concepts of each individual square, which when all squares are placed together form the whole picture.

          -- from a graphic arts class -- play with letters to form various patterns.  Example: Place multiple "A's" upside down, on their side, written as large and small.  Fill a square or other shape with them.  Work with both symmetry and asymmetry.

          -- from self-study -- create a self-portrait, either abstract or representative from a list of five words you would use to describe yourself.

          -- from self-study -- choose a descriptive sentence from a book and create a work from it.  I love old gothic novels and the atmospheric descriptions would lend themselves nicely to this activity.  Song titles or lyrics also work as inspiration.

Enjoy various styles of art, explore your favorites and have a great day.

MORE DONE ON "BLUE COLLAR', WHY YOU SHOULD TITLE YOUR WORK

Another mixed up week of cold, rain, wind, and even sleet.  More hooking was done on "Blue Collar" throughout it all.

"Blue Collar" in progress,  Lori LaBerge  2013

I was curious to see how the light turquoise blue would work on the bottom section, so I skipped to that rather than continue on the top section.  It works nicely, brightening up the piece and adding contrast.   

The stripe from left to right just below center is hooked horizontally, portraying a rail that stretches across the silos at the quartz plant.  The addition of the pulley when the hooking and whipping process is finished will give the piece a more industrial feel. 

While creating the piece I am thinking about what I want to portray.  This work is not meant to be pretty, it is meant to make people think about the jobs blue collar workers do. The thought of meaning brought me to thinking about titles of artwork. Do we need to title our work?  Does it help the viewer?  What if we don't title it?

I like titles.  I think they bring the viewer into the artist's thought process.  After all, if you created something, you must have had a main idea going on.  There must have been something about the scene or abstract concept in your head that attracted you enough to create an artwork of it.  There should be a reason for the creation of the piece.

"Fall Barn Shadows"  Lori LaBerge  2009  

The title lets the viewer know that my interest in creating this piece was the shadows in the snow, on the barn and inside the doorway.

I like to look at a title and figure out if I'm seeing things the same way the artist did. Did the artist make the title quite clear or did they leave some ambiguity?  This is especially important with abstract work which forces the viewer to think creatively. Some viewers like things spelled out and for the most part abstract just doesn't work that way.  A title can help lead the viewer to the artists thoughts.

 "Midstream"  Lori LaBerge  2006

This title gives a clear indication of water running through the center of the work.  From there the work is open to viewer interpretation.

Untitled works have always bothered me.  Untitled 1, Untitled 2, Untitled 3, etc.  I know artists are not writers, but this says something to me.  Does the artist think his or her work is so self-explanatory it does not need a title?  If so, and the viewer doesn't understand the piece would the artist simply dismiss the viewer as "not getting it"?  If the artist couldn't title it, could they even tell me what the piece is about?

"X Marks the Spot"  Lori LaBerge  2008

This is a simple geometric and does not really need a title that explains it.  It is clear that I focused on the shape of the x's while hooking this work.  I was interested in shape and color.  The title is not overly cutesy, which I always try to avoid.  

Every single buyer of my larger work has asked me to tell them about the work and a title is the start of that story.  Titles also help an artist to catalog their work and be able to find pieces more easily. 

    "House Hunting"  Lori LaBerge  2010

The planned title for this piece was "Crow in the City".  As the piece was being completed, I thought there was more to this.  What was the crow doing in the city?  This title is more specific and tells more of a story. 

My experience is that people who visit exhibitions like titles.  It gives them a connection to the artist.  Buyers, especially collectors, like to know the artist, whether meeting them personally or through understanding the meaning or method of their work. 

Notice the titles on the artwork you view, think about whether you relate to or understand that title and have a great day.