Secret Journey Journal and Some Beautiful Trim

What happens when you find an old map that your brother wrapped your Christmas gift in, you are thinking about what to make for the next Artist Tribe project and The Police are singing about Spirits in the Material World and their Secret Journey in the background?

Well, this. This happens. 

Naturally. 

What else could possibly have happened? Please don't answer that question. 

So I got this idea for a map of my spiritual journey. So many spiritual artifacts are ensconced in precious boxes covered with beautiful design. I had just the thing. My old iPhone box. I can never throw them away as they are so well made. I found the bottom right away. It took weeks for me to find the top, but that is another story....

So the map was cut into pages the size that could fit in the box. 

 Gwen Lafleur's compass stencil was the obvious choice for this project. I wanted to use a color close to indigo, but alas, in my enthusiasm for pink I have neglected variations of blue. What I had, I didn't have much of. I decided to mix it with black. It actually looks like I used black, but I am happy with the way it came out. 

While pouncing the color onto the page I became transported by memories and stopped paying close attention to what I was doing. The images are not crystal clear as one might imagine, but I decided that gave it a weathered effect that was perfect for this project and moved on. 

Usually, I use a slightly harder cardboard for the cover, but I decided to actually cover the cover. For this I chose a stunning paper from Gwen's collection. I thought the black and gold suited the project perfectly. The cover cardboard was cut to the exact size of the papers, the cover 1/4 inch larger on all sides. 

Adhere the cardboard to the paper. I used gel medium. 

Trim the corners. 

 Glue them down. 

For the interior cover (also called endpapers for those in the know) I used this beautiful peacock print paper also from Gwen's shop. It looks so regal. 

Before I bound the book, I cut a piece of Dresden trim and adhered to the cover using gel medium. Lucky me, the Dresden trim was the exact size to get both front and back pieces from. 

I bound the book using the Coptic Stitch. If you are unfamiliar with the process I would recommend watching a tutorial or two on YouTube. It does take some attention, but is fairly easy to do and looks great. 

Once the book was bound, I added bits and pieces of print in different languages - Chinese that came from Gwen's shop, Japanese and Russian from an instagram friend, French from a biography about the Marquese d' Sevenge who I was researching last spring, some Italian in the hand of Leonardo D'Vinci (though I have seen it written that he wrote backwards and is suspected to have dyslexia) and Korean (some word from a favorite KPop band, Shinee.) These all reflect travels of mine, with the exception of the Russian and that simply reflects friendship.

If I hadn't already decided to make it difficult enough, I chose to do all the text in code. I love a good puzzle. I used the code pig pen if you care to have a go at it. 

I carefully assigned meaning to each page spread and made a guide to help me keep on track. I then went through buckets of old pictures, scanning them, resizing them and using an app to make them all black and white. Some looked great when outlined or cartoonized, others were better with simple black and white. I printed them out like contact paper, cut them out and adhered them to the appropriate pages. 

Thanks to Artist Tribe member Jill McDowell, for inspiring me to see things within the stencils. I found visual hints on each page to keep the meaning coming. 

Let me be real here, a book like this isn't done quickly. It's really introspective, so I decided to begin and allow myself to continue as I go. Maybe you will see the completion post someday.

A beautiful book deserves a beautiful box, nes pa? Here's how I turned my iPhone box into a treasure box. 

Gwen sent me this beautiful piece of sari material. These will be available in her shop before long, so make sure you check in. I love this piece and it was precisely the size I needed to cover the lid! 


After folding the material over the box to make sure it would fit I added gel medium to the lid and pressed it on the fabric along one of the lines. Next, I adhered the long edges. Trim the excess on the ends and stick the sides down.  

Silk is lovely, but it frays in an ecstatic, energetic sort of way. I added gell medium around the edges to make sure they did not fray. 

Let's talk about Gwen's trim for a minute. This stuff makes you drool. With so much trim to choose from how does one begin? My box side is 2" high, so I chose a trim that is 1.5" and it works perfectly. I'm guessing that will help you narrow your choices down a little bit. 

I gave a liberal coat of gel medium on the backside of the trim and carefully adhered it to the box. Clothespins placed at the corners helped to keep it secure while drying. 

So here is the rub. Iphone boxes are snug. Really snug. So I couldn't get into the box very well once I had covered it. No problem, I wanted to do something to the bottom anyway. I glued a piece of the fabric I used in my Kuchi patch brooch to the bottom of the box. 

Then I used hot glue to add sari yarn around the edge of the box. This provides a place to grip and also keeps the box from closing completely. As you can see a piece of sari yarn is used to tie the box to complete the look. 

I just don't know when to leave good enough alone. I wanted to create a secret compartment for my box. I traced the inside of the iPhone tray and cut out a piece of craft foam that size. 

I covered it in the same fabric as the bottom and then attached sari yarn all the way around. Using a button making kit from a sewing supply store, I covered a button with the last scraps of that beautiful sari scrap and sewed it to the middle of the cushion. 

Placing a gemstone bracelet there makes it look like there is nothing else to be seen here. Well, let me dream that is what it looks like. 

The reveal.

The holes in the bottom of the box are wonderful for hiding things. Currently, I have the pig pen code. No, I haven't memorized it. I also have a stick of Japanese amber incense which makes the whole thing smell lovely. I am sensitive to scent and have trouble with most incense due to an allergy to jasmine, but this works for me. You could use a drop of essential oil, some lavendar flowers or a piece of your favorite soap. 

I'm sure to add more to this "secret" compartment, but I'm not going to share that with you. After all, it's a secret! 

Be sure to check out the materials I used from Gwen's shop:

Gwen's Stencil Girl Stencils - Ornamental Collection - Ornamental Compass 

Black and gold paper is from the Irresistible India Mixed Media Happy Pack

Gwen's essentials - German Dresden - Borders Assorted Patterns

Chinese paper from Exotic Orient Deluxe Collage & Embellishment Pack

Irresistible India Embellished Trims by the yard - Mirrored Gold Embellished Trim 

Sari Ribbon from Darn Good Yarn in Twisted Sister 

And this month Gwen's having a special on trim. Go wild. This stuff is gorgeous. 

Writing the Artist Statement - beginning

Writing the Artists Statement: Reealing the True Spirit of Your Work by Ariane Goodwin is the guide I have started using to write my statement. 

Several years ago I stumbled across Ariane Goodwin’s book Writing the Artist Statement. I checked it out of the library, renewed it and, truth be told, I checked it out again. Her approach to the task is fresh, illuminating and reflective. So naturally, when I started thinking about writing about my artwork my thoughts returned to her method, her insight. 

I turned to the internet to see if I could get my hands on a copy. It's time I have a copy of my own. Score! There are copies to be had. In fact, the copy I got was brand-spanking new.

You can get a peek at the book at her website, the SmARTist Career Blog.

http://smartistcareerblog.com/

Disclaimer - I am not affiliated with her. Just a fan.

So begin my adventures in writing an artist statement. 

Initially, I began with confidence. I am relatively intelligent. I write well. I felt confident that I could write about my work. Sound familiar? 

Then I started. I had no idea where to start. Somehow writing that my favorite color is pink didn't seem to be all that impressive. Worse yet, what are the unifying elements of my work? Well, mastering a technique with paint took time and practice. Why should I expect talking about it to take any less time?

For me, and I suspect for most artists who have followed a meandering path to their art, thinking of our body of work as a cohesive unit is a new concept. A new way of thinking.While I think this book is helpful to anyone writing an artist statement, those of us who came stumbling toward this vocation, those of us without a guide, without a mentor and without a team of established artists guiding us to the fruition of our dreams, this book is more than about getting the statement required for a show, a sale or a publication written. The method helps connect us with our work in a more meaningful way. 

If you are in a hurry and need to get that statement written and on its way by the end of the day, there are plenty of sources out there to outline the minimum requirements for the statement. If you want to shine, and why wouldn’t you, taking the time to make this connection to your work is worthwhile. It’s not just about the statement. It’s also a way to go deeper into your relationship with your artistic self. 

My big take away? So far the most astounding thing I have gotten working through the book is the complete shift I had from focusing on the themes of my pieces to the actual concept behind them. There is a more elemental level concept at play than I had originally identified.

While I highly recommend this book, I am also looking at others that may be easier for people in other locations to get their hands on. Stay tuned. 

4th post in series Writing About Your Art

Always Running

Shoup, Lynda Diane. Always Running. 2017, Private Collection of the Artist.

New spread exploring the time sensitive nature of modern life. 

Do you feel like you are always running? Do you have strategies to combat this? 

Styles of Documentation

Shoup, Lynda Diane. Half a Mind. 2017, Private Collection of the Artist.

Documenting your work can be tricky. There are many different formats for citing works of art. When citing a painting in a paper, the citation looks different depending on the format of the paper. 

This is something familiar to me as I spent a fair amount of time teaching students how citations work as a school librarian. Here is an example of three different ways to make citations for the above work in an academic paper. 

MLA

Shoup, Lynda Diane. Half a Mind. 2017, Private Collection of the Artist. 

APA

Shoup, L. D. (2017). Half a Mind [mixed media]. Town, State: Private collection of the artist. 

Chicago/Turabin

Shoup, Lynda Diane. Half a Mind. 2017. Mixed media. Private collection of the artist, Town, State. 

As you can see there is a great deal of variation between the formats.

Moral of the story: Check to see what format is appropriate for the situation before finalizing any citations.

This post is the third in the series entitled Documenting Your Artwork. 

Shining New Pages

"Look toward the light" collage by Lynda Shoup. May 2017.

Two Junes ago I took a class with Kelly Kilmer. It was a wonderful day of creation. I had never had any contact with other mixed media people in an in-person style way. I treasure that day. While some pages in the journal we made that day were finished I have many more pages to complete. 

It is not uncommon for mixed media enthusiasts to take on too many projects, to want to try everything and to skip from one journal to another. Picking up this journal after several years seemed like it might be difficult or it would be hard to match the style, but it didn't turn out that way. It felt simply perfect.

"Choose Joy" collage by Lynda Shoup. May 2017.

The next day I noticed that Kelly's teaching schedule is on her blog. I'm eyeing a class and trying to decide whether it can fit in my schedule. Kelly is an amazing teacher. She pulls so much out of you while you are not even aware that she is doing so. I found her class very powerful. If you want to see if there is something for you on her schedule, you can look here:

http://kellykilmer.blogspot.com/2017/05/june-2017-workshops.html

I highly recommend it!

The Artist's Way

I've been hearing about The Artist's Way by Julia Cameron for a long time now. Several years ago my friend Cindi Huss told me about the book and about morning pages. I didn't read the book, but I got the gist and started doing them off and on. About a year ago, the book found me at a Barnes and Noble and jumped off the shelf. Literally. I took it home and it stayed on the very shelf I photographed since then. About six weeks ago I started doing morning pages every day and decided to read the book.

Thus started this journey. 

For the Artist Date portion of my assignments I have decided to set down some time each week with one of the books from the overcrowded shelf, find a skill and try it. So far this is leading to some fun creativity. I'm moving into different territory.

 

I started with the Gelli Plate Printing: Mixed-Media Monoprinting Without a Press by Joan Bess. Quite a lot of paint has been seen flinging about here. Intrigued by the Paper Cloth on page 90, I mixed up some glue, unearthed some muslin and got down to business. What a fun process! Several other techniques await the right tools to make them happen (where is that carpet tape when you need it?)

Have Journal Will Travel

It seems that the majority of my arting has been done on the go. While I continue to try to get my art desk under control, I haven't spent much time at it. So I'm getting pretty good at creating wherever I am and in mini-bursts. More often than not, time at my art desk is focused on preparing materials to be made on the go.

Last pocketbook buying trip was focused on getting a bag that could not hold the kitchen sink. Naturally, it has become apparent that if it can be stuffed to overflowing it will be. There is space for a sandwich sized zip-lock bag with two mini books and a handful of gel pens. The mini-books have already had a layer of collage or paint and now it is time for embellishment.

Another bag is stuffed with a host of materials for collage, a variety of art pens and water soluble crayons. This bag is taken when there is any suspicion that the day will have down moments or even a visit to a tea or coffee establishment. 

You may have noticed that I have a favorite tea shop to work in. Kung fu Tea in Providence, Rhode Island is my new favorite journaling spot. I go there whenever I have a chance (which isn't nearly often enough.) I love the environment and Oolong Milk Tea is nothing short of ambrosial. 

I still love journaling in Starbucks. I'm plenty happy pasting layers and adding pen in the car. 

Lately I have found that our nearby hospital has a lovely waiting room where I spent some time  while waiting for a family member's tests. Pages were completed there. Callous you say? Art journal pages are a great way to process the feelings you are having whether they are fear, joy or confusion. Art journaling eased my worry and helped me to be more present for others. I'd say that is a win all around. 

I've also discovered over the past few months that I have gravitated to posting on instagram. It suits the out and about nature of my days. Actually it was through instagram that I was inspired to get serious about making art on the go. Jogatheringwild regularly creates art in her car before work. This inspired me to really get started. Check her out. 

What are your favorite tools for art on the go? How do you manage fitting art making into your routine?