Ruth Zachary MONTAGE

Changes

2011-02-21T17:56:00.000-08:00


Chinoiserie, Mixed Media Collage, By Ruth Zachary. © 2011

Hello Readers, I am back.

I am still very busy. I have been involved in creating an art exhibit and art events program, Chalice Arts, on first Fridays of each month at my church. It is part of the Art Tour in Greeley, CO. If you are interested, see the blog about the group on chalicearts.blogspot.com. This doesn’t begin to explain how much work there is to arrange publicity, mailings, contacting artists, and speakers and all that goes with such an organization. The past two months my own work was on display, as the program began in October of 2010, and there had not yet been time to arrange for featuring anyone else.

After having a number of montages up on the walls, I began to long for the days of creating hand made montages and collages. I had stopped working that way, except for photo montage, and abstract collage, because I bellieved my drawing had become stiff, and I needed to do something else, to loosen up and become more free in my approach. I am now hopeful that I can return to hand made montages again. I have several themes planned. They will include works that are smaller than some of the collages I have done, and can be used as illustrations as well. I am not yet planning to work with etching as I did in the 1990s, although that could come in the future.

I finished my book of poetry, The Woman Who Named Herself, in the fall, mentioned in my post of 9-14-2010. It is available at Xlibris.com and Amazon.com.

I am now working on another book of poetry which will be about family, and I believe it will include experiences that many people may relate to in their own lives.

BLENDING ABSTRACTION WITH REALISM

2011-01-31T14:22:00.000-08:00

I have been planning to use abstract backgrounds to suggest detailed realistic drawings. After making the drawings, I plan to use the layering technique in Photoshop to integrate them into the background that stimulated them.

The reason for changing from total abstraction to semi-realism is that I plan to make a series of drawings to illustrate some poetry books I am compiling. Above, are butterfly shapes found in
the abstraction, and accentuated. This is only an example, and not really an illustration for a book. Illustrations need to be smaller and closer to the final page size in the book to avoid too much reduction of the image and to not lose too much detail.

The emphasis on putting the books together has caused a shift, so that I may not be blogging as often as I was from January through June 1, 2010.

Since I wrote this, in June of 2010, I learned that I can not keep up with as many blogs as I had before. I am entering posts from another blog to this one. At that time, I was working both on abstractions and on realism for different projects, reflected on two blogs. There was also a post on this blog, titled Gosh Darn It, where I was having trouble with a particular problem.

THANK YOU:

Joe Willy, a follower on this blog, suggested I use a black drawing layer over the color, which was a great idea! Since I am now interested in returning to more recognizable imagery again, this may prove to be very helpful.

I have since finished my first book of poems, The Woman Who Named Herself, described on another blog, rzwritestuff.blogspot.com, and hope to have more time for visual art again.

Writing and Images are the © Copyright of Ruth Zachary.

Geometric Abstraction

2011-01-31T13:23:00.000-08:00

GEOMETRIC COMPOSITION

Geometric/ Patterned Composition

This composition was created on the computer, by cutting out shapes from various brightly colored patterned fields. Each shape was placed in a separate layer over a background field. The shapes were manipulated by rotating them manually and placing them in relation to the other shapes, until a pleasing arrangement was found.

Using Collage: The patterned fields are printed out, and approximate shapes and patterns are arranged to be similar to the study. The finished Collage is usually different than the original study, more or less.

This is my first post since last fall, because I have been busy with several projects. I have finished my first book of poetry,

The Woman Who Named Herself published by Xlibris. A longer description may be found on my rzwritestuff blog.rzwritestuff.blogspot.com.

Another project I have been involved with has been helping to set up a creative group where many art forms will find expression in the UU church and in the community of Greeley, Colorado. To learn about this, check out chalicearts.blogspot.com

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MONTAGE IN ILLUSTRATION

2010-09-14T18:46:00.000-07:00

A MONTAGE APPROACH to ILLUSTRATION

Recently, I assembled a book of Poetry, which is about women who seek to define themselves within the culture at large, and have chosen new names which they feel help define this new identity. The cover, to be in color, was a colored pencil drawing on collaged papers and is shown above.

I decided to include 10 illustrations, black and white images of the etchings originally in color. The illustrations do not directly illustrate any particular poem. But the relationship of metaphoric imagery to metaphoric poetry reveals both to be part of a similar process. When and if the book is published, I will announce it on this blog and on my rzwritestuff blog, as well.

Because I am so busy arranging the poems, proofreading and polishing them, I have fallen behind on my intended schedule for blogging on four different sites. I have not included many Etchings on this blog in the past. .I thought using the etchings as images would be appropriate at this time and might help me keep up with this blog. Many of the etchings are montages of more than one element. I will include the color versions here in the coming series of posts. They are still available as giclee prints, but most etching editions were sold out.

The image above used collaged papers which were created by cleaning off printmaking rollers after printing color etchings, and sometimes viscosity etchings. After the background was assembled, colored pencils were used to draw the wolf, the landscape and wolf pack elements, and the woman. I tried to make the woman look like a wolf, with almost golden eyes.

INTEGRATING REALISM INTO ABSTRACTION

2010-08-29T11:15:00.000-07:00

Alabama Patchwork ii Collage by Ruth Zachary

The first image shows how the figure looked after layering it over the blue background, in the luminosity mode. Note that very little color change occured in the gray scale drawing of the figure. The color in the figure drawing was achieved with acrylic paints used as watercolors matching hues in the background. Some distortion occurred in the second version because the varnish deepened the color. The image was photographed. The camera also distorts the straight borders at edges.

INTEGRATING REALISM INTO ABSTRACTION

In the previous post a figure was layered over an abstract black and white background, with the clothed model contrasted in grayscale tones.

I keep trying these experiments with color as well as black and white, because my original vision was to integrate realistic imagery into abstract shapes and textures.The blue-toned abstraction from the “Where Visions Gather,” series was chosen to be the background for the same fashion figure used in the previous post, inspired by Natalie Chanin, an Alabama clothing designer.

The figure, in grayscale tones when tried in various modes, applied as a top layer over the blue background resulted in a primarily grayscale image in many modes, with a few areas where the colors from underneath came through the figure. (luminosity mode)

The solution for this piece was to print the figure out in gray tones and then to paint areas which were in the color palette of the blues in the abstraction. Acrylic paint was used in thinned watercolor technique. Once dry, the whole composition – background and figure could be collaged to the Masonite panel with acrylic medium. Some compositional changes were made to the background before it was complete.

The figure was thus subdued to blend with the motifs of the underlying composition.This is much different than the figure used over the bold black and white patterns of the previous illustration. Both have merits, and the artist must choose the effect wanted.

The Masonite panel was prepared with a coat of water-based Kilz on both sides, and a second coat of gesso to the smooth surface side. Usually papers are collaged to the smooth side. The paper used was Epson matte Professional paper in a medium weight. Epson inks are colorfast, but some mediums and varnishes will dissolve and deepen the colors when applied to the surface. Test the products used together to be sure how they will work.

Small areas of the design elements were briefly soaked in water and the medium was applied to the panel, carefully placing the paper on the surface. One or two coats of matte medium were applied to the finished surface of the collage.

Note to my Readers:

I have been elected as secretary of the board of my church, and have less discretionary time than I had prior to taking on that duty. I still try to produce art, to write and create or manage other projects, including yard maintenance, but I will not be able to attend my blog as often as before.

Writing and Art Images are the sole © Copyright of Ruth Zachary

LAYERING FIGURE DRAWINGS OVER A BACKGROUND

2010-07-20T19:30:00.000-07:00

DRAWING USING AN ABSTRACT BACKGROUND.

I have been experimenting with creating abstract black and white drawings. For this I have been using the computer. Several related pieces of the series started with the same basic shapes, including lettering in some shapes, and rearranging them in different configurations.

Drawing has been done on the computer with various techniques. These include, erasing through a dark layer to a white layer beneath, or through a light layer to a dark layer beneath, directly with the paint or pencil tool in black or white on a contrasting shape, or cloning from another area of established texture to put bits of it somewhere else. Some shapes were cut out, copied and rotated to complete the design. Lines and directions were accented to make the composition dynamic and balanced. Cutting a shape creates an additional different set of shapes. Often I use the “invert” command under image, to create dark where there was light, and vice versa. This too creates different shapes.

I was inspired by a fashion design I saw in Vogue, recently, and wanted to capture the rich textures of the different fabrics, using ink and pencil. I used my own model for the face. I changed the fashion design slightly from the one created by Natalie Chanin, from Alabama, in my drawing. I included her name as a tribute to this woman’s work, because she is both an innovative artist and a person who values recycling.

Notice how she collages different patterns and textures into one design, and then sculpts the figure with the volume and depth of fabrics and cording in the clothing and headdress. As an artist who works in collage, and has also worked in fabric collage, how could I be anything but inspired by her designs?

The drawing was rather light or high keyed in value next to the stark darks and lights of the background behind the figure. I increased the contrast of the drawing so it didn’t get lost, but left it in a grayscale to contrast with the background. The background creates the impression of a patchwork quilt. I think the blacks, whites and grayscale tones are very effective. You almost get a sense of color where there isn’t any.

Writing and Art work by Ruth Zachary © Rights reserved.

COMPOSITION IN BLACK AND WHITE

2010-07-12T10:31:00.000-07:00

Playing with Letters, unfinished study

for black and white abstraction © by Ruth Zachary.

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The Shape Shifting Approach to Composition

Moving varied shapes around the picture plane is my first step in starting a composition.

When using color, the shapes are best when they are varied by hue, value, and size. I prefer organic, irregular shapes in uneven numbers. I prefer to work in related hues, or family colors on the color wheel. The values of the shapes might range from dark to light, unless they are to be placed against a background, which should contrast with the shapes.

Some of the same principles apply when arranging shapes in a realistic composition. A variety of blacks, grays and light tones are effective when limited to black and white, as I have been showing in planning this series of illustrations.

In collage the first step is to put the shapes, either 3, 5, or 7 into a pleasing arrangement. When working on the computer, I create a set of irregular shapes, and try the same shapes in several different configurations. Diagonals are more dynamic, and often suggest depth. The more rectangular the shapes are, the more the composition appears to be on one plane.

In black and white I do not use layers in different modes. I use layers one over the previous layer to arrange shapes. I began with the letters on the bottom or background layer, gathered from an assortment of sources to vary the texture from the first studies in the series. Over this I arranged the shapes in different relationships to each other. There will be several versions of this same beginning, with different textures, drawn lines, etc.

One way to change relationships within the picture plane is to divide it into thirds and reposition . This often changes the number of shapes as well as the relationships, offering surprises and challenges.

The last step is usually to move some of the shapes within the picture plane to a new position, to rotate them, extend some of the lines to carry the eye, repeat some shapes or accent colors, and to balance the dark areas, by deepening or lightening the values, moving them, (or changing the hue when working in color.) To compare this process to working in color, see my post on ruthzachary.blogspot.com

I like the connotation of Shape Shifting as a title, because it is a metaphor for adjustment within the self, the way an artist tries to put various design elements into good relationship with each other in a composition.

Writing and Images on this blogsite are the sole © Copyright of Ruth Zachary.

DOUBLE DUTY USES FOR YOUR ART WORK

2010-06-30T18:23:00.000-07:00

Grandmother Time, drawing in pen and ink and on the computer about 7x8” by Ruth Zachary

Last week I planned to try more experiments to draw into abstract background compositions, and hopefully to produce a combination of abstract design and realistic imagery, so that they could serve as illustrations for poetry chapbooks.

My reason for wanting to do them in color was that even though black and white is more economical to publish, having a larger colored version would allow the work to serve double duty. A second black and white illustration of each piece would meet the second goal at the same time.

My color layering experiments did not work for two reasons. Black or white do not work in the layering process very well. Also realistic imagery does not work well either. The boundaries of realistic shapes would have to dominate but be compatible with the underlying layers.

I have since decided to work in a new way. I am making black and white background drawings, designed in a similar way as my approach with designing colored compositions. The drawings are sometimes done using technical pens on white paper, and sometimes I also create a composition directly on the computer. I expect the optimum size of images will range from 9x12” down to 4x6”. In some cases I will use parts of drawings done in the past for card designs. I expect they will do double duty again as new designs for note cards.

I use three or four major tools for drawing in black and white on the computer. First I establish shapes, geometric or organic in solid black and whites with select tools. Next I place a layer under the first design attempt, and fill it with solid black. Using the eraser tool in a very fine size, I begin to draw by shading and scribbling with the eraser on the white areas of the design to create black textures. Sometimes I use a large uneven brush. This creates contrast and variety.

To reverse the look, I try using the pencil or paintbrush on the black shapes with white to create more textures. It is best not to have wet edges, as this will not create totally black and white sharp edges, best for reproduction. Also a sharp edged point on the pencil will have a jagged rather than natural look.

Another great tool is to select areas of the composition and go up to Image> adjust> and then go t o invert. This will reverse black to white, and white to black. It is easy to make a very complex drawing in a couple of hours using just these tools.

My plan now is to draw figures, people, faces, landscape elements and animals to be scanned into my computer, and cut them out, and place them carefully over the background I have made, and to continue to draw into the background to reconcile the appearance of the subject with that of the background. This process is much more simple than layering. The modes are not used. The top layer is merged with the background.

To have consistent drawing textures and qualities to tie the series together, I will take parts of the backgrounds previously created and include bits of them into new drawings.

Writing and Images are the© Copyright of Ruth Zachary.

ANOTHER EXPERIMENT IN PHOTOSHOP!

2010-06-20T16:37:00.000-07:00

Time Goes Flying By and I Am Running Out of Time.

Well, another week has gone by and I still have not made my concept work the way I envisioned. Above are two more attempts.

The first is a set of note cards first executed in black ink on white. Since I have already learned black and white do not work in layering experiments, I colored the blacks using the gradient tool. This offers a set of variations of gradients, of which I picked a rainbow colored option, applied diagonally to the images. These still retained the whites but darks were colored at 70%, in color mode and transparency also selected.

The second version shows the image with two layers of abstractions lain over it. The top layer was a magenta composition used in the “overlay” mode, and the second layer was a blue composition used in the “lighten” mode. As you can see, white does not allow the other colors to be seen. Affected colors are seen in the dark areas. This is closer to my original concept, but not satisfactory. Never the less, there are things to be learned from experiments which don’t work, and I do like the color better than pure black and white, where it did work. I like # 2, 4 and 5 the best.

My next approach may be to draw the illustrations using hand made methods without consideration of the abstract designs. I might try copies of layers over copies of these drawings, and experiment with erasing the portions of the overlays that don’t work. At least nothing is lost in these experiments!

Writing and Imagery is the Copyright of Ruth Zachary

GOSH DARN IT!

2010-06-13T18:55:00.000-07:00

Illumination. Experiment by Ruth Zachary.

Only a percentage of these experiments with layers of textures in Photoshop produce something worth while. If one thing is gorgeous by the end of one work session, I am usually satisfied. But I have tried several different approaches to the idea I wrote about on May 28^th, and so far none have resulted in the “look” I was trying to achieve. Above is an example. It would make a greeting card, but the technique doesn't conform to my vision.

I believe I know why it doesn’t work. White seems to act as an opaque when layered in many modes, so often the white areas block out the layers underneath. In the modes which do not destroy transparency, it seems that the blacks and whites are inverted. I have not tried making different layers more transparent, and I will try that too, in my next trials, and share my results.

But in the mean time, I think I must work in color… using colored pens, and either colored pencils or water colors in my “drawn” illustrations for the realistic sections of my work. I will start small, with small sections only slightly larger than my eventual illustrations. If the edges are vignetted, (blended) they may be used in different configurations for future layering, I believe.

So, On to the next good thing! All this does take time, and so I'm not blogging as much lately.

COMBINING ABSTRACTION WITH REALISTIC IMAGERY

2010-05-28T18:28:00.000-07:00

Beginning a New Project Combining Abstraction and Realism.

Recently I decided to self-publish some of my poetry, and to illustrate it with about ten images.

For this project, I decided to continue with the abstract work I have been pursuing for the past year and a half, using the same process of layering different textures etc. over each other.

I have proceeded with this process to come up with about 35 different textured abstract images that imply an ethereal impression, which suggest figures, natural animals, insects, and other fanciful creatures to me. Using one such abstract “background” I plan to draw over it with layout paper, and create detailed scenes which these creatures inhabit.

The drawings will be in pen & ink, and colored pencil. They will be drawn in a montage style. Ideally they will emphasize areas which will balance the composition. Once the figurative drawings are scanned into the computer, they will be layered over the composition and treated in the same manner as the abstract work I have previously demonstrated on this blog.

The overall result I am hoping for is a combination of abstraction and figurative realistic work. Most likely, various selections will be cropped out of the larger image to make up the smaller size illustrations.

For the next few blog posts I plan to show the process in stages.

2010-05-12T16:11:00.000-07:00

Until It Is Sold, That Is.

I habitually keep making small changes to a composition as long as it is in my possession. I may put it away for a while, and then some new change seems to occur to me, and I get out the paint again. And to add another thin coat of varnish, and photograph the latest version. Again.

It is difficult to hang on to a piece until you are sure it is really finished, because there is always some place to show it before you reach that point. I am probably not going to be able to change that habit. For that reason, I tell people I do often change my work. Once it is sold, I have to let it go as is.

I don’t have any problem letting my work go out into the world. This means it is ready to give others pleasure. That is my reason for creating it. Selling work allows an artist to keep on being creative… sustains us so we can continue to buy materials and to live, and to go on being in that creative mental space.

See my blog of March 29 to see the previous version of Winter Concert. The changes were made using acrylic glazes to deepen the maroons and balance the composition. (I really do believe it is finished, this time!)

More Photoshop Experiments

2010-05-03T15:54:00.000-07:00

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IMPROVE THE ODDS OF HAPPY ACCIDENTS Part 3

The next experiment is to use three layers in the same way as two layers are used in the previous exercise. The “mode” setting is applied to the top two layers in varied combinations.

Note: It is possible to work for hours and not find one happy accident that has potential to become a finished work of art. Other experiments may produce many images that can be the start of something really worthwhile. This approach can be quite time consuming.

There are certain elements of composition which make an image more or less effective. When combining layers in Photoshop, using the “mode” setting under the Layers tableau, to create accidental effects, choosing combinations that contain certain elements tend to produce better compositions.

These include: One layer with fine but varied textures, a second with medium to large shapes that will affect the division of the picture plane, and a third with medium sized patterns. A range of light to dark values in all three layers usually result a more dynamic composition. A combination of geometric and organic shapes will also create more interesting images. Usually. They are accidental, after all!

A good composition leads the eye of the viewer to various focal points within the picture plane, but creates enough interest to keep the viewer’s attention for a reasonable length of time. An all-over texture or pattern by itself tends not to offer enough variety to maintain that interest. The artist strives to learn what is effective in achieving this.

In the past demonstration, from April 26, three kinds of images were layered to produce a fourth image. Go back to that post to consider the following points about the process of using modes in Layers. The first textural image feels unbalanced. The second is incomplete, and somewhat unsettling. The third (from a tie-dye) is exciting, draws attention, but is rather symmetrical, almost static, and can quickly lose the viewer’s attention. The fourth version, obtained by combining the previous three layers using mode adjustments is more interesting. The three rectangular shapes were created by copying parts of one area into other areas, but more work was needed to command the viewer’s attention. I would add some other shapes, keeping to an uneven number as this us usually more dynamic. I would like to accent the suggestion of depth.

Later, I did take example #4, and added shapes to make it more interesting. Then I layered it again with two different textural images, resulting in the image above. One was a crackle texture, originally photographed from an old door. The other was a texture created in Kid Pix, which used paint tools, geometric divisions and outlining of the shapes thus created. Experiments with these three layers resulted in an image close to the one shown above. I made color adjustments, dark and light adjustments, and contrast, to deepen areas of the composition. You can see the resemblance to the tie-dye configuration, but now the picture plane contains areas of emphasis, textural interest, and areas of hazy mystery, with a hint of depth.

This is a study. At some point I will probably print it out. Other papers of related colors and shapes will be added and moved around until the whole is transformed into a pleasing environment where I want to take a vacation for a while.When it seems finished, I will eventually show the finished collage.

Images and Writing are Copyrighted © by Ruth Zachary.

ANOTHER EXPERIMENT IN PHOTOSHOP!

2010-04-26T18:11:00.000-07:00

USING PREVIOUS HAND MADE IMAGES IN PHOTOSHOP TO CREATE NEW WORK.

The first three layers, scanned into my computer separately from previous works were layered into one Photoshop document and resulted in the fourth image. To achieve this, I pulled down the menu for various modes in the Layers Tableau, and kept selecting different modes in the box, for each of the top two layers. As each layer was changed, it affected the image seen on the screen. Numerous options are possible with this method. I know how each of the original images was made. The first was begun in KidPix, using the paint tools to create the linear textures. The second was a fabric piece from a hands on tie-dye workshop later sewn into a vest. The third was an abstract painting incorporating collage. Next I saved each desirable image as a separate merged document. The last step was to alter those resulting images by adding shapes, repeating shapes, changing colors, sizes and the orientation of some sections within the picture plane.

Images and Writing are the Copyright © of Ruth Zachary.

EXPERIMENT WITH PHOTOSHOP!

2010-04-19T15:24:00.000-07:00

PHOTOSHOP CAN WORK FOR PAINTERS, TOO!

If you are an artist who likes experimental techniques, this method offers infinite possibilities! If you have a full version of Photoshop, and a scanner, or a digital camera, you can try this. Start with a stack of paintings that aren’t finished, photographs of nature’s textures, or some experiments with painting techniques. Import the images into your computer, at about half the size you would want a finished piece to be.

I chose a photo of an old still life originally painted in oils, a recognizable subject, to demonstrate the technique will work something realistic or completely non-objective. All my layers were about the same size in inches and the dpi count. This image was 12x18” and 300 dpi. (Dots per inch)

The second layer imported was from a painting experiment with spattered paint, and washes of run and flow in blues and greens. A box will appear showing the two layers.

The top layer was made active. (The highlighted box shows which layer is active.) An eye in both boxes shows that both layers are visible. The active layer will be affected by what you do to it. It may be predictable, but so far I haven’t found controlling the method results in anything better than I have created purely by accident.

The experimental part of the exercise was to change the mode of the top layer. (Look for the little box above the layers that says “Normal”) A pull-down menu will allow you to run through each of the modes, one at a time. The top layer, if active, will create changes with the bottom layer in combination. Try each of the modes to see which version(s) are worth saving.

Do a “save as,” to save the version you like as a jpg, a pdf, or other type of document. The layered version in Photoshop will remain unsaved, so you can keep checking all the mode versions you want to save.

Another method for further experiments is to change the top or bottom layer by rotating it, flipping it vertically, horizontally, or by changing the color. The subsequent versions in the same modes may be completely different than from the first run-through. The examples pictured show the change made to the original still life. Ultimately I saved two versions of the still life.

Some versions may not retain recognizable imagery. It is up to you to decide what to save, and if you like the composition of an abstract versions of your experiments. Ultimately I use the textures or images printed out from these combinations, in collage.

What I love about this approach is that I am not creating an artificial texture by using a filter. I know the painted textures are original because I painted them myself! And the choices are all mine. The computer is my studio, and my set of tools. It maximizes my creativity because it offers unlimited choices!

COMBINING ORGANIC WITH GEOMETRIC COMPOSITION

2010-04-13T19:13:00.000-07:00

Combining Geometric with Organic Motifs in Abstract Composition

The above composition is an example of the dynamic effect achieved by combining both organic motifs and geometric elements in the same picture plane.

The pale marbleized textures are contrasted to the sharp straight lines of the geometric shapes. The repeated narrow black shapes remind me of piano keys.

The general effect of the geometric shapes is one of looking straight down at a design with the same depth of field, which creates a two-dimensional composition.

The curved lines and shapes, if predominant could create an impression of depth, or three-dimensional space.

In the future I will include examples of organic-geometric combinations, which produce different effects, and attempt to explain how they exemplify particular elements of design and principles of Composition.

Images and Writing are the Copyright of Ruth Zachary ©

Composition with Abstract Art

2010-04-06T11:17:00.000-07:00

Composition, whether it contains recognizable imagery or is limited to purely non-objective content, is much the same process. Shapes or forms of varied hues and values, lines, movement, balance, are arranged to create interest, and hopefully to keep the viewers interest for a period of time. Collage is a medium which allows moving shapes, lines and colors around within the picture plane before adhering the papers to a background.

The three images above show the steps this composition went through before the final version was chosen, and also that after choosing the final arrangement, many changes may continue to be made, using acrylic paint. (Not all the images were allowed on this post, but the numbers will identify the order of creation)

In the first is shown the original computer concept. In the second, is the rearranged version, also on the computer. Paper textures scanned into the computer were used to come up with the layout, and printed out with colorfast inks on archival papers. The computer study was printed out as well, as a 4x6” image to work from. Working small initially helps me to overcome the difficulty I often have with larger scale proportions. The floral images were included at the end to convey the idea of a garden concert. The final image was size 18x24.”

Acrylic medium was used to adhere the papers to the canvas, and the finished image, which included tonal washes of acrylic paint to strengthen the composition, and the black border, was sealed with acrylic varnish. The final image was a photograph of the piece. I am having difficulties with my ten- year old camera, and put it on auto focus, which still comes out a little blurry.

The piece expresses a sad theme, using letters written home from soldiers in Iraq, which is why I called it Concert in Blue Flat Minor.

This piece was shown about one year ago in Greeley’s Madison and Main Gallery for the annual Garden Show.

Please note: I have a new blog site, which features Abstract Art Exclusively. Go to Google and ask for Mixed Media Abstract Art by Ruth Zachary.

This site is about the techniques of creating art, especially in photo montage, and in mixed media collage and includes the various kinds of art I have made in the past, or am creating in the present, and includes both abstract art and realistic art.

The Value of the Thumbnail Sketch

2010-03-29T18:43:00.000-07:00

This Winter Concert played on into Spring! I can't believe it took me a whole month to show the final result of this collage. (And there still may be more minor changes) As you can see the previous stage of planning this piece was not quite satisfactory.

Ideally, changing the initial concept of a piece as the creative urge prompts, allows the most freedom of expression. I have a problem working directly on larger pieces, but working on the computer to make a study where I can make changes is very helpful. It is a matter of scale, and since the change in my vision occurred, I am even more grateful to be able to do some of the work, especially the initial planning, on the computer. If others who see this also have a hard time working on a large scale, planning a composition as a thumbnail sketch may help you too!

Comments are Welcome!

Visualizing

2010-03-14T16:28:00.000-07:00

Fortune Cookies, Study for Collage, by Ruth Zachary©

Imagining new art is the first step in manifesting it.

I recently left an invitation on my Mission Page to viewers, other artists or visitors to this site to comment, suggest techniques and to interact with other artists on this site for an exchange of ideas. Perhaps visualizing an ongoing commentary was the first step in manifesting that too.

And maybe the first step is for people to simply comment. Someone named John recently left a comment on the site, which was highly complementary. Apparently he was responding to an older post, "SUBJECT TREATMENT: More on the Line" He liked the post and the blog in general.

To John: Thank you so much. Your comments are very encouraging!

Creating With Collage, Part 2

2010-02-28T15:20:00.000-08:00

Winter Concert, Views 2 &3 in Progress. Mixed Media Collage, size 24x30" by Ruth Zachary. Final Version not shown.

Process of Collage part 2 -Winter Concert

The arrangement changed from the original concept as I went along. (See the previous post)The top and bottom were darkened, while the sides were lightened with acrylic grays, and tissue paper layers were applied over that. I do not use colored tissue papers because they are not colorfast. For color, they are painted with acrylic pigments.

Not satisfied with the composition at that point, I took a photo of it, and imported it back to the computer. Having worked close up and on a small scale for quite some time, I find it difficult to see needed changes when working on a larger scale, unless I experiment first with a smaller version, as on my computer screen.

I proceeded to copy small sections from the original layout and to arrange them in the side panel areas over the gray, turning, flipping and rotating to get something I liked. Repetition helped to tie the sides to the center, and touching the edge promised to anchor the center to the whole. I copied the small sections to one document to print out for the final layout. Adhering these to the panel, I attempted to maintain the sense of movement while retaining quiet areas at the edge to separate the image from the frame.

Check out my new blog, Ruth Zachary's Mixed Media, which is intended to focus upon my Abstract Art, Patterned Field Landscapes and Geometric Compositions.

This blog will continue to feature my Women's Heritage Art, Symbolic Photo-montages and Vintage Photo-montages. Techniques for all of my work, explaining Mixed Media Collage and Montage Art, as well as Abstract Compositions will also continue on this blog site.

Images and Writing are the © Copyright of Ruth Zachary.

Creating With Collage

2010-02-22T15:06:00.000-08:00

Study for Collage, Winter Concert© Ruth Zachary

Process of Collage - Winter Concert.

The name refers to the black and white stripes which remind me of piano keys. The other colors are deep and almost somber, like winter, but warm, like being inside on a winter evening.

Some of the papers originated years ago, when I began saving papers that were the result of cleaning my print making rollers. The papers were newsprint, something I would never use in collage because of the high acidic content. Still the patterns and textures were so intriguing I couldn’t bear to throw them out. But imported into the computer, and printed on good papers with colorfast inks, the image will retain the details and hold up over time. These textures can be seen in the background grays of the composition.

This and other patterns, both geometric and organic, were layered one over the other in Photoshop. When some rich shapes and textures emerged, I cut them apart and arranged them on the computer. The first result could be seen in the long narrow image, and I planned to work from that.

Among various gessoed panels, none were long and narrow. I picked one, sized 24x30” to leave equal space at the edges. The collage would be mounted over a pre-painted dark tone. This separated the image from the frame, even though the borders would later include more elements. The creative process continued as the papers were cut up to be rearranged and adhered to the panel, using clear acrylic medium.

This is part 1 of 2, to come later.

"Virtual" Housecleaning

2010-02-15T15:19:00.000-08:00

Laura's Refrain. Study for Mixed Media Collage. © Ruth Zachary 2010

Dear Readers,

Today, I started another blog, because my work has been evolving over the past year into abstraction as a style. I will not be abandoning my other forms of expression, but I plan to separate the more abstract work from the forms which contain more realistic subject matter. The heading on the new blog includes “mixed media art”. As yet, It is not complete enough to come up with a search on Google.

My web site at www.rzachary.com will continue to feature Montage imagery, as will this blog, with more recognizable subjects. This is an effort to meet the needs of people looking for my work on line, so they can find what interests them most.

Eventually I may have a second website with the abstract work on it, but I am not very proficient with these programs, and my months away from the technical side means I can’t build a website as quickly as I can a blog.

Today I have done some “virtual” housekeeping, and am removing files from this blog which seem less relevant. I have removed most of the poetry, and eventually will transfer the purely abstract imagery to the other site. The emphasis for this site may also change to address techiques and methods for montage composition.

Note: Many of the images I have for the web are “studies” because the process of creating the final work results in a changed version. That is the nature of collage. When finished I will take a photo of the final image, but in most cases, final photos are not yet available.

All writing and images are the exclusive © Copyright of Ruth Zachary 2010.

Being Part of Your Art Community

2010-02-07T16:45:00.000-08:00

DeJaVu, A Backward Look, Acrylic Collage with photo images, 20x24." $400.

A Dynamic Art Community Needs You.

If you want to be part of an exciting art community, it is important to give of yourself. Take part in the events, and give it your best effort. What you offer will have an impact, large or small! Talking to other artists has the potential to affect the attitudes of the Area you live in.

Friday Night, I attended an art opening for the Greeley Art Association show, Art from the Heart, held at Showcase Art Center. The show will be up until Feb. 26.

I was very excited to see the wide range of styles, media and subjects shown in the exhibit, something different than other GAA shows I have participated in during the past five years. To me, the change meant that the community of artists here is becoming more dynamic and reflects a growth in ability as well as increased openness to new ideas. I believe it is partly because more artists have followed their own path toward individual styles and modes of expression. I talked with a few artists that I had not met before. It was quite exciting. A wall-to-wall crowd visited the open house reception.

I have been involved in many different artist’s groups, coops and communities since I began my full time art career in 1977. I think it is good to have a good variety of approaches offered by different artists. Another positive factor is to include pieces by artists who are at different stages of development, if there is space. What happens is stimulation between contributors, creating mutual cross-fertilization of ideas. When this happens, there is almost always a growth process for the community of artists as a whole. The influence of this process also tends to evolve in a kind of Regionalism for a particular city.

In the city where I previously was active, Kalamazoo, Mi, there had evolved a regional trend of Surrealism and or Symbolism. Abstractions also took their place among the Impressionistic Landscape images. Printmaking and Photography were also very strong.

I am not advocating any particular style of expression for Greeley. I am pleased to see an atmosphere of openness so that freedom of expression is encouraged through acceptance of a variety of approaches. I am hopeful that an increasing dialogue between artists will occur here. If a different regional character of art emerges in Greeley, the artists who work here and in the areas around Greeley will influence that. It will be exciting to be a part of it.

Creative Process

I had the pleasant surprise of being awarded two ribbons on pieces I entered. All three pieces represented the direction of work of the last year, which I feel is moving toward a synthesis of several different ways of working, which has evolved for the last thirty years. One piece includes faces integrated into an abstract composition, “DeJaVu”. The other is completely abstract, titled, ‘Shape Shifting, Unbeing Myself.” All three pieces were acrylic collage; using papers adhered to a gessoed panel. Two incorporated photographic imagery layered in Photoshop within an abstract background, printed with colorfast inks on acid-free paper. I attempted to interpret broad conceptual ideas using a montage of images. I used experimentally painted textural papers and layout papers also. The composition was adjusted in the collage process, including fading some areas, painting over, removing some, and adding geometric shapes. The third piece was titled “Dream Fragments.”

NOT A DRESS REHEARSAL

2010-01-04T15:47:00.000-08:00

Flight of Imagination. Computer study for Collage

Not a Dress Rehearsal

I don’t want to act as though anything is different than it is. The only acting I want to do is to act as if I am the person I most want to be; the artist I most want to be in the present moment. That kind of acting is practice, not pretending.

Hi, Readers,

I hope you have not given up on me. I am happy to report my Eye Doctor says my Surgery went as well as is possible, and I can look forward to improved vision. I had two cataract surgeries in December, and am trying to limp along with my old “readers” since I must still wait for a new prescription for glasses.

The new year often stimulates new plans for an artist, and after a year of not planning much, I am anxious to get on with it. This week I started experimenting with Photoshop, to take up where I left off almost a year ago. The above imagery is a piece in progress, working with layers and making experimental adjustments to the mode and the opacity oprions of the layers. If you like experimenting, you might try this. I used painted textures, painted imagery and photos in different layers.

Imagery and writing is the © Copyright of Ruth Zachary

SUBJECT TREATMENT: More on the Line

2009-02-06T12:48:00.000-08:00

Landscape With Barn. Study for Collage

Approaches or treatments of a subject, can be applied to parts of the whole, or to the entire subject, or to the picture plane layout. Emphasis on line can be one approach to subject treatment.

In the above study, straight lines are contrasted with organic lines in the picture plane. The verticals and horizontals define shapes that are easily "read" as architectural shapes. Although diagonal lines exist here, they do not imply depth. Only the placement of geometric shapes above each other suggests possible three dimensional space, such as is seen in primitive painting.

In my current Series of work, my goal is to explore abstraction and composition, and to not attempt to depict a recognizable subject (at least in the beginning).

The geometric shapes were created in a children's program, Kid Pix which alters the imagery within the format with random generated options. Using geometric options, I saved one version and imported it into a Photoshop document and layered it over an experimentally created painted background. Sections of the geometric design were removed, and others retained. I chose to emphasize several shapes, including the barn.

Generally, in my current Series of Abstractions, however, I have deliberately destroyed recognizable shapes or images. I tend to become entrapped by recognizable imagery and unable to sacrifice elements which are counter to creating a better composition. But for now, I am trying to stay true to my purpose of becoming less dependent upon realism, in order to develop a better sense of pure composition.

The mind interprets visual information from the natural world, whether it was purposely created or not. Confronted with total non objective imagery, or abstraction, many viewers feel some discomfort. Impressionistic abstraction which resembles the familiar world is usually better received.

If one looks at the image of Barn on Marsh Road in my post of Jan. 13, the diagonal lines of the roofs are created by perspective and the viewer "reads" these as structures receding in space or distance.

Santa Fe Adobe.

This small painting, which combines a rendering of a large adobe structure, was designed with an overlay of grid-like checks. I began that series to learn how much three dimensional information must be retained in order to "read" an image as a solid recognizable form. Using checks is not unlike altering the surface texture of a landscape with spatters, drips, brush strokes and knife impressions.

The grid would normally be completely two dimensional. To enhance the building shape, I turned the lines of some grid surfaces to those matching the angles of the adobe walls.Vertical and horizontal lines often imply architecture, but in addition, diagonal lines often suggest depth.

What I learned was, the grid arrangement had to comply with and enhance the realistic image in order for the combination to be successful as a composition. Textures or patterns may be exciting, but they do not in themselves make a finished composition.

Other lines, such as Crosshatching, Gestural or continuous (scribbled) lines, parallel lines, and many other uses of line can be used to define the surface of the subject. When these lines are built up to create texture, they may also create shading, which also can imply three dimensional space. This shading and tone, or light to dark value, also defines depth. The direction of the line upon the surface of the subject helps define its form, contours and depth.

Extended Line

Some artists have used the lines of a subject’s boundaries, and extended them.

Architectural forms easily lend themselves to use of the extended line. Lionel Feininger’s work was largely characterized by the use of line to define space and dimension. He used perspective, and diagonal lines to inform the viewer about implied depth his forms occupied. He also extended lines to divide and organize the two- dimensional space within the picture plane.

Images and writing are the Copyright of Ruth Zachary.

SUBJECT TREATMENT: LINE

2009-01-19T18:59:00.000-08:00

Daughters of the Earth. Pen and Ink.

LINE

Line is probably the most primitive method of creating shapes, maps, or writing. The mind recognizes the edges of shapes as they stand out against a background. Lines are formed by edges of things. As children we usually made a line indicate a shape or several shapes to make a human form, a house, the ground, a tree, and the sun, before filling in those shapes with color.

Line as a way of indicating a subject has evolved through the ages, so that lines and dots also form tones, shadows and suggest three dimensions even though we draw in two dimensions.

The Phoenix Always Rises. Pen and Ink

Line does not have to be limited to black on white. If you find line a natural way of expression for you, try using color. Try widening your lines. Draw in pastel, crayon, or the side of a 2 " square piece of mat board dipped in watercolor. Make lines and areas of color with the square of mat board. Think of using white on black or on a deep solid color.

Scratch board is a chalk coated board which if colored with inks can be scratched through, making white lines, looking like pen and ink in reverse.

Lines can be painted with a brush. Go back a few posts in this blog (Dec. 29) to look at the bottle still life, which used outlined shapes and solid flat shapes shaded in with paint to suggest dimension, without much modeling on the surface. One object was modeled in three dimensions to create a contrast and draw the eye to that focal point.

When looking at objects in a painting or in real life, notice the contours and boundaries. These are lines which have direction and movement. Lines draw the eye in the direction they point toward. The goal of an artist is to keep the viewer's attention inside the picture plane long enough to see everything you placed there. Controlling the lines in your composition will help to do this. Lines with the most contrast are the most noticable.

Diagonal lines tend to create an illusion of depth, or perspective. Diagonal strokes behind a figure give the impression that the space behind the person or object is not flat, and when used on the the figure will imply the figure has dimension, as well.

There also needs to be a place where the eye may comfortably leave the frame if desired, or quiet places within the picture plane which create a sense of peace, or a welcome place of rest for the viewer.

Writing and Images in this blog are the property of Ruth Zachary.

FORMAT SHAPES AND DIVISIONS

2009-01-13T16:22:00.000-08:00

Atargatis. Chine Colle. An example of vertical divisions within a horizontal rectangular composition. Notice the horizontal fish border at top.

Most picture plane surfaces are rectangular or square. Placement of your subject within these shapes is related to the success of your finished composition. If you are depicting realistic subject matter, your choice of placement in a horizontal or vertical orientation is important if you are to present your subject to the best advantage. If your work is abstract or non-objective, you can make the work fit the shape.

Where the focal points are located within this picture plane is also important.

As mentioned in the last blog post, it is possible to vary the shape of your composition within the picture plane by creating various format shapes within the outer picture plane boundaries.

The space within the picture plane shape or format shape may be divided in some general ways:

•Rectangles and squares. Most compositions will conform to a rectangular or square shape with either a Horizontal format or Vertical format.

Format Division
Within the inner format shape, the space may be delineated and characterized by Horizontal, vertical, diagonal or organic divisions, or a combination of all of these. Generally the shapes within the composition characterize these kinds of divisions, even when they are organic,
or represent the major boundaries of the subject.

Barn on Marsh Road. Mixed Water Media. This composition uses the diagonals of perspective to divide the picture plane. The shorelines, the barn roofs, reflections and receding foliage create the illusion of depth, and also lead the eye into the distance.

Other kinds of format divisions:
•Geometric Grids and diamond grids can be used to divide the picture plane.
•Other geometric shapes, triangular, hexagonal, etc.
•Circular, arched, or oval shapes.
•Organic divisions.
•Combinations.

Bridge. Created in a children's computer program, KidPix, and later enhanced using Appleworks and Photoshop. Note how the geometric compostion remains 2-dimensional in spite of many diagonal lines throughout.

Images and Writing are created by Ruth Zachary and are not to be copied without her permission.

DESIGNING THE PICTURE PLANE

2009-01-08T13:24:00.001-08:00

Picture Plane shapes

The usual picture plane shapes are rectangular, vertical, horizontal, square, or sometimes round or oval. If a bias develops for one shape, it may be challenging to arbitrarily work with another shape. Some artists even create irregular shapes for their picture plane, perhaps to accent an element depicted.

It is possible to create a specific shape within the given picture plane, leaving a neutral boundary area around the main composition. Again, Format shapes may be geometric, circular, rectangular, organic, symmetrical, assymmetrical, or may spill out of the picture's inner boundary, as in the image below, Chameleon.

Summer Lace. Collagraph

Artists are accustomed to planning art on paper knowing it will be matted when framing. Matting can be used to alter the compositional shape. When creating art on a board or canvas, it is also a good idea to create a quieter area at the outer edges of the composition, to visually separate the image area from the frame.

Format shapes can be designed on canvas, board and paper surfaces, either in advance of working, or afterward. They can be circular, oval, arched, notched, rectangular, combination shapes, organic, etc. as with the above listed possibilities.

Chameleon. Computer Photo Montage.

It is possible to incorporate a composition which falls within an organic shape, as with the etching below, Damselflight. The lower area contains less imagery but the top is more active near the edges. This piece is always presented with a mat.

Format division as another approach to design. The picture plane can be purposely divided into segments for another effect, and for a new design challenge or approach. They can be geometric or organic. This can occur with both realism and abstract work.

Even if the format is not obviously separated by lines, the elements within can still form divisions within the picture plane. Divisions can be geometric, or they can be organic or a combination of both.

Damselflight. Etching

I'll Never Come This Way Again.
Watercolor and collage.

Consider the various options for dividing the format of a composition. Divisions help to organize elements into an order which can make the whole more interesting to view. Look at format shapes and divisions in galleries, art shows, note cards, architecture, and book illustrations. Consider using some of them.

The next blog posts will feature illustrations of different kinds of format divisions.

Images and Writing are the Copyright of Ruth Zachary.

THE MANY WAYS TO PRESENT A SUBJECT

2008-12-29T11:05:00.000-08:00

SUBJECT TREATMENT

Finding a slightly different emphasis or viewpoint to get the best perspective, can make the subject more commanding than simply settling for a less than interesting first view.

If the subject is what inspired the work, and the artist is motivated to say something about that subject, how it is portrayed is vitally important.

But even if you do not have a great view of the subject to work with, it is still possible to rearrange or add to or subtract from the view you have to make a dramatic composition of the creation that results.

Still Life. Oil on Canvas by R. Wagy

Still Life: Draw, paint or photograph the various objects in a still life grouping. If possible move around to get the best view you can of the grouping. If you can’t move around, or rearrange the still life arrangement, draw the objects in different relationship with each other.

It isn't always required to present the subject realistically. One way to change the way you present the subject is to treat the objects with outline, filling in solid areas.

Lighting. Consider side lighting, back lighting or low point lighting to create an unusual view of your subject. At some times of the day, bright illumination creates interesting shadows. The photo at the top of this page illustrates the impact shadows can have at the end or beginning of the day.

Other times the even lighting of an overcast sky is better than unwanted shadows.

Distant or Intimate View?

Consider whether to present the subject from close up or from a distance away. If you are showing off a beautiful costume or capturing an especially interesting expression, probably an intimate view will serve you better.

Think about your choices and what you are trying to say. Choose to place the subject at one side (assymetrically) or centered (symetrically) of your picture plane. With animal or human subjects, do you prefer a direct gaze or averted gaze ? Either may say something about your subject, or this choice may express something about yourself. If your preference is strong, so that you repeatedly present subjects with an averted gaze or a direct gaze, it may be a trait that becomes part of your style.

Images and writing are the property of Ruth Zachary.

POINT OF VIEW

2008-12-23T17:20:00.001-08:00

Photos for painting, Bicycle Cafe. Several photos were taken of the scene, with various possibilities for an interesting composition. My final choice would probably be the second one shown. (Click on the image to see three versions)

POINT OF VIEW

A dramatic or dynamic presentation of a subject in a composition is very important. The artist's point of view or perspective has a great impact on the final composition.

Some artists claim the composition is far more important than the subject. I have even heard this from teachers in a drawing or painting class, who said this in a classroom where many of the students did not have a very interesting view of the model, or of a grouping of several objects in still life. But there is no substitute for finding that best arrangement before beginning to work.

As can be seen when several pictures of the same subject are presented from different points of view, there is a difference. Preference has a lot to do with development of style, as well as learning to present a subject effectively.

The artist owes him/herself the extra time it takes to get the best possible point of view, whether photographing, drawing or painting the subject.

If a tree is the subject of a landscape, twelve different perspectives might result in several versions to get the very best one to convey its special quality. Hopefully, this in turn will capture the viewer and communicate the inspiration the artist experienced in the first place. Several exciting images could also result in a series.

Placement of the subject within the picture plane is also critically important. Composition and design attempt to present a subject in the best possible way, to convey the feeling, character, impact, or mood that inspired the artist in the first place.

NEW SERIES OF TECHNIQUES.

This leads to the next group of blog posts, which will illustrate a variety of options for presenting a subject, or Subject Treatment.

Images and Writing are the exclusive Copyright of Ruth Zachary.

COMPOSITION IN REALISTIC ART

2008-12-17T09:46:00.000-08:00

Faded Photo of the House on Norris Road

House on Norris Road. Computer Adjusted Photo
Colors were enhanced, contrast increased, and some
window details were created by copying parts of them
where details were absent.

The Country Doctor's Home. Watercolor.

The image was enlarged and painted from the adjusted
photo. Areas of watercolor were loosely splashed onto
the surface, before refining the desired details. Some areas
were left vague to encourage the viewer's eye to move
around within the picture plane.

Composition in Realism

Realism is sometimes thought to be only copying nature by abstract artists or artists working from imagination. But anyone who had worked in darkroom photography knows there is often an elaborate manipulation of light, dark, contrast, texture, emphasis, placement of elements through cropping, dodging and burning, and by employing other means before a photograph is finished. The result is far from the first impression of nature.

The artist who paints consciously to create a skillful composition has controlled the combination of elements within the picture plane, until it is no longer simply a “copy” of nature.Successful realistic painters do this as well, even those using photographs as a means of beginning.

Realistic artists also bring together disparate elements to create one painting, although the final version may appear to be completely realistic in presentation.

The above painting used both indirect impressionistic methods and selected areas of directly painted realistic detail to blend both into a completed composition.

Recommended Books: For two dimensional artists seeking fresh approaches for presenting realistic subjects, I recommend:

Creative Landscape Painting by Edward Betts. (Watson Guptill 1978) and
Concept and Composition by Fritz Henning, (North Light Publishers 1983)

Many of these approaches can be applied to still life, figurative work, and other subjects as well as landscape painting.

Images and Writing are the exclusive Copyright of Ruth Zachary.

COMPOSITION IN TWO DIMENSIONS

2008-12-09T13:45:00.001-08:00

COMPOSITION

In two-dimensional art, composition and design are defined by the elements within the picture plane. Composition employs certain principles to capture the viewer’s attention and keep it moving within the picture plane

The illusion of dimension is created by various means, such as perspective, diagonal lines, diminshing size and height of objects, faded and undetailed distant shapes, and a a tendency for distant forms to be more neutral in color and to have less contrast.

Certain principles and rules of nature lead the eye around the surface or through the implied space of the picture. By using these principles or purposely breaking the rules, attention can be directed to different parts of the picture plane at the artist’s will.

Design principles attempt an aesthetically pleasing or dramatically demanding effect which can be learned, practiced, and almost unconsciously integrated into the way an artist works. These principles are inherently part of the natural world, and often children have a natural sense of composition in their art expressions.

Basic elements of design or composition to be mastered include: Balance, Contrast, Movement, Rhythm, Repetition, Variety, Unity, Harmony, Simplicity, Complexity, Proportion, Principles of aesthetic picture plane division and more. Whole books have been devoted to the subject, and so not much pertaining to these principles will be included here.

Three books I would recommend are:
Art Fundamentals – Theory and Practice, by Ocvirk, Bone, Stinson and Wigg.
Composition in Art, by Henry Rankin Poore (Avenel Books)
Composition, by David Friend (Watson Guptill)

WHAT APPROACH IS NATURAL FOR YOU?

2008-12-03T11:39:00.001-08:00

The Direct Approach
People who work regularly often find they work more naturally if they approach the process in a particular way. Some artists start with an idea of what the finished piece will look like, with the arrangement of the elements in the picture plane at least generally pictured in their mind. This can include more or less detail. It may entail working with a photograph to work from while creating their rendering.

A direct approach can be used to begin a piece, with the compositional elements reduced to basic shapes and reinterpreted as textures, color areas or abstract relationships to result in totally unrecognizable shapes. A gradual completion of the imagery can evolve into something completely different than the original concept. Often the way the medium and the ways the images affect each other influence the artist to let the work emerge. This almost feels like the “painting that paints itself.”

This is an add-to approach, applying more detail to what is already there.

The Indirect Approach
In a sense, the process of letting a painting happen in the way described in the previous paragraph is an indirect approach, or a combination of both direct and indirect approaches.

This approach often begins by using a series of experimental media, methods and/ or techniques to create uncontrolled effects. Then the artist takes a direction for the work from what is suggested by the accidental results obtained, and develops it according to the suggestions or cues seen there.

One type of indirect approach is to take away media or imagery rather than to add it, much in the way of carving away clay or stone to bring the image out of the material.

Combination.
Think about what is natural for you… do you work better by adding information to an image, or do you find taking away imagery is easier? Is your best work done by a combination of both approaches, adding something here, taking something else away, until you like what finally emerges?

The Designed Approach
Basic shapes are used to define the major elements of the picture plane. In two dimensional art the format is divided by geometric or organic shapes, or both, and the direction of the piece uses either planned or indirect imagery which is subordinated to the overall design.

Images and Writing are the exclusive Copyright of Ruth Zachary.

WHAT IS STYLE?

2008-11-30T13:31:00.000-08:00

WHAT IS STYLE?

Once I enrolled in a beginning photography art center class, taught by Gary Ciadella.
He sent us out to snap pictures of things, scenes, people, etc. which attracted us. When we returned with our newly developed black and whites, he projected our images on a screen.

I would never have dreamed beginners would display a group of pictures with distinctive characteristics different from every other person in the class, but that was what emerged! Every person displayed certain tendencies for certain types of composition, for either very dark or very high key scenes, and of course a preference for particular subject categories. Some compositions seemed to slide off the bottom of the format. Some were contained within tight boundaries. There were many more of these traits we all could identify and the differences between us were apparent .

I would define style as the unique combination of preferences, choices, or biases the artist employs during the creative process. This may include media, color choices, compositional preferences. Working within certain limitations may create a certain commonality in the work, interpreted as style. Subject matter, format shapes, intimate views, far away vistas, and more come into play. Much of this process is like hand-writing and is just as unique.

After that time, I never tried to “develop a unique style.” I was assured my style was already there, and that making every piece of art the best I could was a more important goal.

I am convinced that working diligently will ensure every artist will develop his or her own unique style. My advice to the beginner is to learn what you can from others, but to trust the result will still be your own original expression.

Work done in various media each may have the look of a different style. My own choice is to mix media and to choose the materials and tools which express in the best way I know the particular effect I am going for. It may appear sometimes as if I have no particular style, but that is a conscious choice. I can see direct relationships between one series and the next, and how what I have just learned is translated into the next body of work. I can articulate what those discoveries were.

MESSAGE

Later in the class mentioned above, Gary Ciadella showed us a series of photographs by world-renouned photographers. He asked us what the artists were saying with their pictures. We began to comprehend many possible meanings in these images.

Every piece of artwork says something, even if it is only about an abstract arrangement of shapes and colors. Awareness of meanings conveyed through images is inescapable for me since that time. Symbolism through imagery is absorbed even when the viewer is not aware. Advertisers are aware of this and use it all the time. If you are aware, you can resist their efforts to make you buy.

Sometimes an artist is aware of the message or idea they are trying to express. Sometimes a piece will say something else to the viewer. When more than one person sees something in your work you did not see before, and several interpret this idea the same way, it offers an opportunity to learn about what you are subconsciously saying with your work.

These two classes in photography affected all the artwork I created from that time on. To see the work of my former teacher, Gary Ciadella, click the links below.

www.carrciadella.com www.exclusivelyblackandwhite.com

WHAT MOTIVATES YOU TO MAKE ART?

2008-11-26T12:24:00.001-08:00

Pink Landscape. Collage on Stuffed Canvas.18 x 24"

MOTIVATION

Inspiration is usually the source of an artist’s motivation for wanting to depict a particular subject, method, color combination, or idea as a piece of art.

Usually there is an initial drive to want to capture “something.” Inspiration motivates the artist to complete the work, even during disappointments and failures. While filled with emotion, it is a good time to articulate just what is the intention or goal to be accomplished.

During the actual work, the process itself may suggest new ways of working. The goal may be lost. The artist need not become bound to the original goal, but if the original intention has been understood, or even written down, there is always the option to explore different versions of the same subject and to return to the first concept. Subject inspiration, response, and process are so interconnected, it is often impossible to separate them.

The artist’s direction may change while creating a piece, as it did for me when working on this collage. It started as a piece of satin, which I marbleized as an experiment. This was sewn, stuffed and stretched with its canvas backing over a frame. Later I collaged computer printed paper strips on the surface to create the feeling of a landscape, using acrylic medium.

Whether by conscious choice or intuition, this kind of change in direction reflects growth. The evolution of choices leads to a refinement of direction, which uniquely defines not just one piece, but eventually, a body of work.

Being able to define these goals and the concept behind a single piece or a group of works will help the artist while working. Awareness allows adjustment.. It is the simple repetition of correcting something that leads to improved skill.

The artist must dismiss that negative little voice that tells him or her that s/he is “not good enough” rather than accepting that the painting, the drawing, or the photograph is not good enough. The real task is to learn how to make it better, and eventually it will be better than just good enough.

I have found it is easier to let go of preconceptions by working on “throw-away paper,” or to just allow an experimental process or technique to take over. Sometimes a remarkable accident has a wonderful impact. This affords and opportunity to shift, and work in a new way, or direction. Thinking about what was learned helps to integrate the discovery into the range of choices to be made in the future.

I would describe an artist’s process as a series of discoveries of what does work as well as what doesn’t.

The materials, tools, and medium used are the physical manifestation of that process. They record the artist’s journey, energy and handwriting left behind in that process. Employing a particular technique expresses the artist’s style. But it is the artist’s vision which creates the final work, and not the medium, or the tools.

DO YOU DEFINE YOURSELF AS AN ARTIST? A-1

2008-11-24T11:56:00.001-08:00

Draft Horses. Mixed Media

How do you Define Yourself ?

I believe if anyone practices an art form they are an artist. Doing it well may simply require finding the best means of expression for your unique set of abilities, and dedicating time to it.
There are too many preconceptions about art and artists. My advice, choose which ideas are valid for you and discard the rest.

Success can be measured in the joy derived from the process of doing. It may mean achieving short or long term goals.

It may require having a self sustaining income from creating art, but it would be a very deprived world if only those who made a living, made art for all the rest of us.Those who are artists by avocation, contribute a great deal to the world at large.

Talent is a combination of traits and abilities. No one is born with their potential fully developed and ready to be expressed in a given area.

Aptitudes of many kinds can translate into the ability to make aesthetically pleasing art;

Visual orientation
Appreciation for color
An ability to draw
Manual dexterity
Appreciation for beauty
A desire to learn
Adaptability
A drive to express
The ability to abstract
A direct and/or indirect working style.
A creative mind
Motivation
Understanding of art
A love of materials
Mechanical ability
A hard worker and More.

Attitude. Even though different people have varying degrees of talent, it is possible for people with many different traits to prevail as artists because of attitudes including;

Passion for joyful creation
Desire to learn
Motivated to finish
Steadfast dedication
Sees “failures” as opportunities
Sees art as play or meaningful work
Belief in one’s ultimate success
Flexibility
Desire to please
Patience and More.

Experience Learning is accumulated through doing.
Skill is improved by practice.
Training may be obtained in a variety of venues. Formal training, private lessons, art center classes, specialized workshops, learning from books, working with a peer group, or just plain observation can hone ones abilities. Understanding is facilitated by a conscious effort to be aware, and to apply what has been learned one step at a time and over time.
Process evolves in the practice of making art. It includes the materials and techniques used, but it also includes inspiration, joy of doing, passion for expression of an idea, drive to achieve a goal, and it includes satisfaction in steps achieved well and determination to improve upon and learn from efforts which failed.

The Montage Workbook A-1. All rights reserved by Ruth Zachary.

Pages from the Montage Workbook will be lettered and numbered so they can be filed in logical sequence. Comments are welcomed.

MONTAGE WORKBOOK SERIES - Introduction 1

2008-11-22T08:08:00.000-08:00

Norris Road House. Watercolor, Computer Altered.

Introduction

The motivation for writing this weblog came from many people who have seen my work, and who have asked how it was done. I want to share this knowledge.

My methods have evolved through years of experimentation with many media, as well as through exposure in various classes and workshops related to a variety of media. In attempting to classify what I have learned, it also appears the evolution of my own learning experiences provided a sequence which could be useful in any artist's aesthetic development and awareness. An explanation of a process for one piece could not apply to all. I have kept extensive notes over time, useful for reference, but also made easily available for organizing into a catalogue of materials, approaches and techniques.

There are a variety of approaches to designing a piece of artwork, which I will share. I plan to include basic principles of design and composition. I will attempt to increase awareness of the message(s) that is conveyed by an image to the viewer. I hope, as well, to address some of the creative issues artists encounter.

Sharing what I have learned about mixed media, approaches to composition, collage and montage is the focus of this blog. I hope others will be able to use this information.

Comments are welcomed.

Images and writing are the exclusive property and Copyright of Ruth Zachary.

BALANCING THE ARTIST'S LIFE

2008-11-18T08:26:00.000-08:00

I enjoyed the on line class, and am thrilled at all I learned. But suddenly I realized I had neglected a lot of other important things for two months .... like creating art!

I don't regret focusing on the class. That was my priority for that time. And look at all I accomplished! I added a second blog about writing, rzwritestuff.blogspot.com and another about my family history, Grandcestor Stories: vintagemontage.wordpress.com

In addition I created two lenses on Squidoo, on Womens Heritage Art and Vintage Montage, and began creating sites on Hub Pages, Twitter, My Space, Facebook and Linkedin. All these locations need to be attended to on a regular basis, and this can be very demanding, especially if tries to do too much. It is important not to get so overwhelmed, the process is no longer joyful.

The priority for an artist is to get all the many demands of life organized and being addressed in balance, on time, and according his/her own priorities. I am learning to allow myself to do just a little on each site until it is up to the standard I hold for myself.

And since all of those sites are about what I love doing, and feel as if I was created to be doing both art and writing, I feel I am on track!

I think it is part of an artist's process to reassess periodically. It was one of those times, back in August that started me on this new journey. I realized marketing effectively on the internet was one thing I had not tried, and resolved to do something about it.

Hunting on the web led me to Julia Stege's webinar. This has led to a new direction, and a change in the way I will try to expose my art and writing in the future. The marketing and production plan I imagined two months ago is changing as I go. And that is great, too.

Writing and images are the sole property of Ruth Zachary.

VINTAGE MONTAGE USING PHOTOSHOP

2008-11-15T06:38:00.001-08:00

Filling Her Shoes. Photo Montage. 9 x 12"

This piece reflects upon the relationship between the child and the grandmother, who in this case was the parent.

The montage images of the child and the grandmother were placed in a frame using layers in Photoshop. Portions were erased around the grandmother, to leave the child's photo dominant. The erase tool was used in paint mode, a large, #65, to create a blended edge on the cutout areas.

The background, the chest of drawers, pitcher and bowl, and the antique shoes came from a present day photo in an antique store, Lincoln Park Antiques, in Greeley. The frame was angled slightly, using the perspective tool to create the illusion of the photo turned to the left.

Color saturation of the modern photo was reduced using Image> Color adjustment tables. The antique photos were tinted slightly using a sepia color at about 20% value in color mode.

If anyone has additional questions about the Photoshop techniques used here, please ask. Also I would enjoy comments from you.

Comment
"Your photo montages are.... like someone's special dreams you're allowed to peer in on. I find them as rich and interesting as looking at my Grama's curious things, her button collections, from dresses I remember. Her fine leather boots - which seem so improbably matched to anything I ever remember her doing. Her crazy daisy little hats that were linked with had stories of her zany sisters..... I continue to think of them, and how they made me feel to see them at the gallery and your home; they certainly give tremendous mileage of thought, feeling and memory. The feelings they evoke still linger and ...are all tatted in now with the narrative threads of my own Grandmas and Aunts." Julia and Renee

Art images and writing are Copyrighted by Ruth Zachary.

MIXED MEDIA

2008-11-13T12:37:00.001-08:00

Dreams Gone By Mixed Media.
Giclee Prints, 12 x 14"

Mixed Media; The Best of All Worlds (for complete expression of artistic vision.

This original mixed media montage was created using a variety of techniques, and was accomplished before the availability of Photoshop.

The photos were heat transfers of color xerox enlargements from old photographs, ironed onto the paper background so they would all be on one surface. (The back of the piece still has scorch marks from the iron.)

The images chosen to combine into one included childhood photos of my mother and father, an old house which had been their honeymoon home, the house they later bought and where I was born.The porch was reversed from the same photo used in a previous etching (The Homecoming) shown earlier on this blog.

The next step was the use of doilies, and living flowers and plants, laid directly over the transfers, to serve as stencils. Some of the photos were protected with paper to retain the photographic details. Green and brown spray paint were selectively painted on the stencils, through to the paper. After this was dry, and stencils removed, a checkerboard pattern was drawn selectively onto the paper, the squares filled with colored pencils, to suggest quilt blocks, and the country flavor of this nostalgic memory.

The use of the mixed media enabled more choices than only one would have afforded alone.

I have started a new blog, rzwritestuff.blogspot.com. The new blog will be about writing, and so I will gradually be moving posts about writing, in this blog, over to that site.

Permission required for use of writing and images Copyrighted by Ruth Zachary.

EMOTION AS A CREATIVE STIMULUS

2008-11-06T11:58:00.001-08:00

Apron Strings. Copier images and chine colle.
Image size 17x22"

Strong emotional feelings about a subject is a great stimulus for creative expression. (This is true for writing as well as in creating images. At the point in life when this image was made, I was torn between the role as housewife and mother, and another desire to pursue a visual arts career. I had to work much harder, for longer hours, and still keep up with my housewifely chores in order to be an artist. In some ways working in an office and visiting homes was much less physically demanding. I traded it in for the personal satisfaction of being creative.

The shoes represented the two competing roles. The boot was worn in my print studio, while the low heeled shoes were worn at my previous job as a social worker. The two aprons represented the two different worlds, as well. I pretty much gave up the decorative apron for the practical printmaking apron.

As I worked, these symbols evolved in my mind and demanded to be pictured in a comment about my conflict. I saw that it was not my conflict alone, but one that was quite relevant for other women as well.

The piece was executed by using the copy machine as a camera, and then collaging the parts into a still-life sort of montage, which was re-copied in two parts on rice paper. The toner remained stable when the paper was dampened. The two halves were then placed face down on a blank zinc plate, flour paste applied to the back, and a damp print paper laid over that. The press rollers applied enough pressure to cause the rice paper to adhere and bond to the heavier print paper. (Chine Colle was described previously in The Homecoming.)

Images and Writing are the sole property of Ruth Zachary.

METAPHORIC MONTAGE

2008-11-04T12:20:00.001-08:00

All Adults Must Be Accompanied by a Child. 18 x 24"

This montage image was stimulated by the idea that all of us, no matter how old, carry elements of our childhood with us, and that people's personalities are at least in part, formed by our early preferences, abilities, and environment. It is in its depiction of various symbols, a metaphoric montage about life.

This particular montage departed somewhat from my Women's Heritage theme, because it relates to people in general, of different genders and cultural and ethnic backgrounds and not specifically about women. It has similarities with the earlier piece shown, The Homecoming, both because it deals with ideas about childhood, and in the way the images are presented, with an architectural structure forming the background for various associations.

Executing the ideas in this piece was a lot of fun, and I hope the humor is conveyed to the viewer by the suggestions about the people in it. Sometimes the humor is a little grim, I admit, and it slides over into the genre of social commentary. But overall, viewing the piece can be entertaining, and the final conclusions are totally up to the viewer.

I welcome comments and feedback about this piece, and especially how others respond to it.

Images and writing are the sole Copyright of Ruth Zachary, and may not be reproduced without permission.

CREATING FROM MEMORY

2008-10-30T18:32:00.000-07:00

The Homecoming. Etching with Chine Colle. 15x18"

Creating this etching was a way to recover a memory of a time when I was seven. The house pictured was actually the house where I was born, a farm house in rural Michigan. My parents had moved away for several years, but then they returned with my sister and me.

Moving there was both scary and exciting and as we explored the empty rooms, there were actually things I remembered from the previous time. And later on, I also remembered the sweet smell of Black-eyed susans and St.Johnswort in the long prairie grass that grew everywhere. I made a reference to that fragrance by including flowers over the house. In the cement porch, I wrote a poem about the memory, (written in reverse to make a readable version) and it became the texture of the decaying cement.

Several printmaking techniques were used. Thin paper was rubbed with pencil over a lace texture to make the curtains. A copy machine was used to copy photos of myself as a baby, the candy bar wrapper, and flowers on rice paper. (the grey areas) These copied shapes were carefully cut out and interspersed with the etched portions of the plate using a method called chine colle, which glues the pieces to the print paper at the same time the inks on the plate are printed.

The backs of the small copied pieces were coated with flour and water paste, and carefully placed. The wet paper is laid over all, covered with press blankets and printed with much pressure. When all works properly, the rice paper copier images stick, and blend perfectly with the etched portions on the print, to give it a two color effect. This is an example of both montage and collage. It is also related to other pieces I have done in the Vintage Montage genre.

At this point I am offering these images as a smaller giclee print, separately numbered.

All images and writing are the sole property of Ruth Zachary.

HONORING YOUR OWN BEST PROCESS

2008-10-24T14:01:00.000-07:00

The Release of Psyche. Etching. 6 x 9"

The depiction of a butterfly in a jar, and releasing it has been an idea which has compelled me more than once. In those instances picturing a child freeing the butterfly, as a Black child seemed appropriate, because our culture has imposed such harsh limitations, especially upon Black children.

Even though the myth about Psyche is thought to be Greek in origin, she supposedly was incarnated as a butterfly, which in many cultures represents metamorphoses.

In some stories, Psyche represents the soul, and the theme of freedom of spirit and the ability to transform and transcend bonds or limitations is a positive metaphor for difficult times.

It is also a wonderful symbol for an artist seeking freedom of expression. At this particular time, it also becomes perfect for me. For several years I felt my way of working had become disconnected from my Source... the images no longer expressed the joy I once felt while working, and I thought the art reflected what I was feeling. Rather than go on making stilted images that projected distortions, I turned to other media and techniques to stimulate a fresh approach to creating. It helped, but I still could not draw freely, as I once had.

This side trip took several years. I would furtively try to express an idea, only to find I was still too impaired to do it well. Last year I did a drawing of a powerful figure of a Native man I had once photographed as a news reporter. My freedom had partly returned, but it wasn't there yet.

Finally, recently when trying to draw the Phoenix, I felt as if I had been released from the old restraints that had bound my mind, and the drawing came easily, like a flood, almost as if a dam had burst. It has taken a decade, and I am glad I was able and willing to follow other directions in the meantime. I have learned a lot. I really believe one has to honor their own best process in the quest to the best work possible.

A California artist, Mary Beth Rapisardo speaks of the "Art of Allowing Art" for the artist wanting to enable his or her connection to Creative Source. Her beautiful paintings express Visions along this Sacred Journey. I recommend visiting her inspiring web site, at www.sacredjourneyimages.com.

WOMEN'S HERITAGE MONTAGE SERIES

2008-10-21T15:31:00.000-07:00

Medicine Woman. Etching image size 16 x 20."

Today I am very pleased to have found an etching completed several years ago, and which is completely sold out. My single remaining print has been in storage. This would be an image I would like to offer as another edition of giclee prints in a different size, about 12 x 15."

Medicine Woman was created to honor women who practice both traditional and non-traditional healing arts. Women, as food gatherers learned about the healing properties of various plants, and so began the practice. Many traditions developed over thousands of years, often including magical lore and rituals in the ways of applying their knowlege.

In the middle ages, men tried to wrest this knowlege and the powers of healing away from women, sometimes naming such wise women as witches, even persecuting and killing them if they persisted in practicing healing. Midwifery was one of the last of the healing arts permitted by women in that period. Male doctors began to be the only people left who had medical knowlege.

It was not until the 1800s that the medical establishment opened a medical school to a woman. Elizabeth Blackwell applied at 28 schools before being accepted at Geneva/Hobart College in New York in 1847, when she was sponsored by Dr. Joseph Warrington, who was highly esteemed, and probably because no one dared offend him.

Images and Writing are the exclusive Copyright of Ruth Zachary.

HONORING YOUR OWN BEST PROCESS

2008-10-07T12:08:00.000-07:00

October Raspberries. Photo

When thinking about what moves a person to create, sometimes it is nothing more/or less than being immersed in the out-of doors. I love my raspberries, which recall for me happy memories of picking them in the woods, as a child gathering gifts free from Nature. So often I am stimulated by visual cues, but this time I tried to reflect on other senses as well; the sense of touch, smell and taste. I find so often a new metaphor hides under the vines, both for writing and for creating visual imagery.

If an artist or writer can identify the conditions, situations, or rituals which contribute to his or her most creative work (play) then it is wise to make sure those conditions are in place when it is desirable to create. Not everyone sits down at the same time every day to write, or to paint or to......(name your creative favorite... compose?)

My best process means paying attention to my emotion as it connects to a situation, a place, a scene or idea. If I am unable to go to work just then, I at least write down a few words... the place, the feeling, words that come to me, metaphors, etc. I may take a picture, or sketch.

So many times I have gone back to those notes when I have enough time to devote to the idea, and have recaptured the concept and carried it out to completion. For me, my best process is not to simply produce, but to give myself and my process to the creative Source as soon as I am able.

WHAT INSPIRES AN ARTIST TO CREATE?

2008-10-03T17:05:00.000-07:00

And Who Shall Parent Our Children? Etching. Image about 9 x 12."

A Marbelizing technique was used in this etching. The method is the same as described in the previous post.

The idea was one I had pondered about for a long time. I had worked for a long while as a social worker with deprived families, and encountered more teen age mothers than I liked. So many young mothers love their children, and yet they are still children themselves. Often they have not had time to prepare to be responsible for themselves, let alone their small children.

My own sorrow for their problems cried out for some way to vent itself, and using images was an effective one for me. I did not judge them, but wanted to draw attention to the problem, so perhaps, someone viewing the image would try to intervene and one more young girl would not get pregnant.

Art, for me is not simply about aesthetics. The emotional feeling stimulated by a situation or idea empowers the making of art.

With poetry, this seems true as well. There may be a direct connection between emotion and being able to express an art form. When trying to write, having a strong emotion about the subject enables a connection with the intuitive side, so that words (and images) come into consciousness, and serve almost as a vocabulary for expression. Images seem to be the first language... the preverbal state of awareness.

I am very interested to know, do other kinds of stimuli inspire other artists to express themselves? What are the conditions under which your best art work or writing occur?

All images and writing are the sole property of Ruth Zachary.

WOMEN'S HERITAGE SERIES

2008-10-01T10:07:00.001-07:00

Eirene, Guardian of Peace. Etching. 9x12" approx.

The Greek goddess of Peace was the topic of this piece. The
Romans called her Pax, and celebrated her with a procession once a year.

My interpretation shows her as an angel protecting the earth from a bird of prey, symbolizing war or chaos which disturbs peace for world inhabitants.

The marbelized texture on the earth and in the background was created by floating thinned asphaltum on water, and placing the dry un-etched plate carefully on the surface. The tarry substance stuck to the clean plate surface, but did not adhere to it where it was wet.

After the asphaltum was dry, the plate was spray painted, blocked out in areas intended to remain white, and etched in progressive stages. The successive blocking out and etching in stages allowed the acid to make different depths in the surface of the plate. Deeper areas held more ink, printing as darks in the resulting print.

I would be happy to answer any questions not answered, about this process.

All images and writing are the sole property of Ruth Zachary.

2008-09-28T18:04:00.001-07:00

Changing Woman. Hand Colored Etching. Approx 6x10."

This etching was one of the Women's Heritage series. Changing Woman is a Native American Deity who, like the earth and the moon, become old and then young again. Humanity also, ages, but in so many ways is able to experience a return to youth. She holds a universal symbolism.

The Women's Heritage Series contains references from women's myths, history and spirituality. Often there are Earth - centered themes included. The images are presented in overlapping scenes and people and include many symbols from various multicultural Sources of Women's Origins. Although the etchings are not available, limited edition giclee prints are, printed on heavy archival paper with colorfast inks.

Surround yourself with symbols from your source.

Images and writing are the exclusive property of Ruth Zachary.

RUTH ZACHARY ART

2008-09-25T10:43:00.000-07:00

Cygnet. Etching. 9x12" approx.

This etching was inspired by my daughter, who, like so many teenagers felt inadequate and unnattractive even though they are anything but.
This was an image responding to the "ugly duckling" theme... the swan who will one day emerge as a beautiful creature.

The reversed image is a kind of reflection, a metaphor for both my daughter's and my own.

Technically the image was executed as a typical line drawing with a stylus through ground, etched, and then in a second stage, a spray-paint "aquatint" method was employed. This involves etching the plate, and painting out lighter areas successively with asphaltum, to achieve a series of gradations in tone. The longer the exposure to acid, the deeper the pores in the plate, which hold ink for printing.

In this print, two tones of intaglio ink were rubbed into the plate with tarlatan. A rainbow colored charged roller was rolled over the surface. The plate was then placed on the press bed, wet paper was placed over that, under blankets and all were rolled through the press under great pressure. This forced the wet paper to pick up the inks, both on the surface and in the crevasses. Pulling the print paper away, carefully, resulted in an intaglio print.

If anyone has questions about process, please use this blog to ask, and I will answer. I promise not to use any information left on my site for anything other than contacts about my own shows, new work, etc.

About 25 etchings were made, each with a different color combination. I am not able to use my press at present, but I do offer limited editions of giclee reproductions of my etchings for those who relate to the images. These are printed with archival inks on heavy matte paper made for
printing art.

All art images and writing are property of Ruth Zachary.

MIXED MEDIA USING PHOTOSHOP

2008-09-17T08:00:00.001-07:00

Somewhere They Are Smiling. Computer Montage.

Here is the final version of this series exploring the idea of a lineage descended through seven generations of sequential mothers. It is also the last of this series using Photoshop as a tool in creating montage.

This generation of women were placed in the foreground, while those of past generations were depicted as a reflection in an antique store window. The dress and bouquet on the youngest member of this matrilineage were also created using layers in Photoshop. The various faces shown were drawn from various stages in their lives, and the final version does not depict a single moment in time.

Each version of this series was carried through in the spirit of joyful play, with the ideas spurring me on, through multiple time-intensive steps. (Computer art is not less time consuming, nor is it easier, and no, the computer doesn't do the art work.) But for me, the use of Photoshop has become second nature, and is used like any tool using paint or pencil, minus paint fumes.

In spite of working with the computer, I frequently return to other traditional media, because those forms can do things the computer cannot. I use my hand-rendered images interactively with other media and photographs within Photoshop to create a final result. Computer art allows an artist to save each step, to be used in multiple new ways in new images later on.

I invite questions if I have not gone into enough detail. My aim here was not to overburden anyone with too much information, but to say enough so someone else working with a computer could explore some of these techniques. I would also love to learn what others have discovered in their artistic journey.

Images and writing are the exclusive property of Ruth Zachary.

USING PAINTING IN PHOTOSHOP

2008-09-16T18:44:00.000-07:00

The White Dress. Computer Manipulated Photograph.

This image with the old fashioned white dress was one of two or three photos of a Halloween costume. In this case, none of the photos were suitable as they were. The hat was best in one, the dress better in another, and the face more clear in the third.

My task was to put the best together in one format. Each cut out portion was copied and imported into a Photoshop document in various layers.

An experimentally painted panel was scanned in to serve as the background. The same panel was reversed and used over the top of the figure. In the layers tableau the texture was made transparent. Areas planned for the face and clothing details were cut out of this layer and deleted. The layer was cut again into sections so that the desired amount of transparency could be retained in various parts of the composition.

In some cases the painted texture was more opaque and in others, less so. The blending draws the eye to the face, purposely left more vivid. The overall texture lends a uniformity to the whole.

This and the other images of this series was shown to illustrate some techniques that can be useful in Photoshop. The final version of this series will be added in another day or so.

All writing and images are property of Ruth Zachary.

MORE PHOTOSHOP TIPS

2008-09-11T14:07:00.000-07:00

Matrilineage. Computer Manipulated Photos

A copy of the first black and white multi-generational family portrait was colored using Photoshop.

Each of the five heads in the back row was outlined with the lasso tool, and filled with an orange tint, using the "color" mode, with a reduced percentage of transparency.

The three figures in the front were already in color and were added in additional layers. The foreground and the background layers were retained separately over a transparent background, to enable use of separately cut out groupings. Layers must be saved as a psd (Photoshop) document to preserve them, and take a lot of memory. The file size can be greatly reduced as a JPEG document, but layers are lost and the background becomes white.

All images and writing are the exclusive property of Ruth Zachary.

TECHNIQUES USING PHOTOSHOP LAYERS

2008-09-10T18:46:00.001-07:00

Foremothers.
Computer Manipulated Photographs

I have learned a lot of techniques by experimenting with Photoshop for the last fifteen years. People have frequently asked about the methods used for achieving certain effects.

Although it is better to have a hands-on situation to see how these methods work in practice, this forum is certainly better than explaining detailed processes at a gallery opening!

I hope to encourage others to learn from accident and experimentation as I have. I hope that others will ask questions if they have them, and will share discoveries of their own, using this blog site as a place to exchange ideas.

The bottom image (made first) was created by bringing five photos into one document, each on a separate layer, and arranging them in a sequence representing five generations. Prior to moving the photos, the size of each document was adjusted so the figures would all be the same size. The background was created from a digital photograph of a crackled paint texture on an old door.

The top, and second image was an experiment on a copy of the first one. One of the great things about using the computer is that all the steps can be saved, so if you don't like the experiment, you can go back and try something different. The layers were merged, using the merge visible command under layers.

A new layer was created. ( menu) This was filled with white and then the transparency of that layer was reduced to about 50% in the layers tableau. The darker images beneath began to show through. Then the eraser tool in the palette was set at a fine size, and a Wacom pen and tablet were used in a sketching motion to remove the white layer and reveal the dark details
of the figures beneath.

I made several variations on this theme, which I will explain in coming installments. Look for other techniques to come!

TECHNIQUES USING PHOTOSHOP LAYERS

2008-09-10T18:23:00.000-07:00

The Foremothers. Manipulated Photograph.

People seeing my work on display often ask how
I created a particular effect. There are many
techniques I have learned over 15 years of working with Photoshop, and I am happy to share them.

I hope I may inspire someone else to let accidents teach them, and hopefully that person will share what was learned with me.

This image was created in layers, one for each of the faces. The background came from a digital photo of crackled paint on a door. The figures represent five generations.

Another experiment with the image was tried, after the figures were merged.

INTAGLIO HAND MADE PRINTS

2008-09-02T15:15:00.000-07:00

Damselflight. Etching. 12x12" approx.

Judith Angell Meyer asked a question about coloring an etching. For those who do not know
about etching, this is a brief description.

Most of the color in my etchings were created using intaglio inks. My etching images were made on zinc plates, with a combination of fine lines and dots etched at varied depths to hold the inks, which are about like oil colors in texture, and usually very dark in value. My method was to push the thick inks down into the crevasses, carefully separating the areas of color. The surface of the plate was then selectively rubbed with tarlatan, a stiff material which clears the smooth levels of the plate to reveal the light values.

The paper was wet when placed over the plate. Thick blankets were placed over that, and the press bed was rolled between rollers under great pressure. This forced the image up so it was absorbed by the paper. The print was pulled off the plate and dried between blotters.

Some of my complicated etchings were remarqued with colored pencils to heighten and separate the colors. Another method of adding color was to roll as many as three transparent colors onto the surface of the plate over the intaglio colors. (See Damselflight)

I use the past tense here because my studio is not set up for printing at this time.

All images and writings are the exclusive property of Ruth Zachary.

Earth Woman

2008-09-01T14:46:00.000-07:00

Etching size 9x12"

This image was one of a series of Women's
Heritage montages created in the etching medium.
Earth as a Goddess was the theme here.
Later the piece was used as the book cover
for Diane Stein's Stroking the Python.

Does anyone have questions or comments
about this medium or about the images?

Montage- Compressing Time

2008-08-30T07:45:00.001-07:00

Concert After the Rain

This piece was completed this year and won
first prize in Photography in the Greeley Art Association Show, "Art from the Heart."

The old man in the background was my great grandfather Alfred, who made violins. My mother, was raised in his home, and he gave her one of his violins for graduation in 1920.
She is shown at right. I inherited the violin from her, but to my dismay, it fell apart, but unable to part with it, I kept it in its case.

My daughter did not play it, either, but my grandson Josh does play violin, and just joined a High School concert group in Grand Rapids, MI. His teacher restores violins,
and was able to put Alfred's old creation into operating condition, and I gave it to Josh.

I used Photoshop to bring three eras together in one frame. I used old family photos and the one of Josh and the background is mine. I found a puddle image to create the reflections, to
further express the idea of reflecting upon the passage of time.

Permission required to reproduce images and writing, which are the sole property of Ruth Zachary .

MONTAGE IMAGERY

2008-08-29T07:35:00.000-07:00

Arachne's Web. Photograph, Slide Overlay.

Both of these images use a montage approach,
with combined imagery.

These compositions present different aspects
to express a single idea, and generally, a single
moment in time.

This image was created around 1985.
Arachne was a Greek Goddess.

Wolf Totem
Mixed Media Painting,
Collage, Drawing, and Painting.

This piece was created in the early 1990s.

This illustrates the idea
of a woman who identifies
with the character of wolves,
and relates to the persona
of the wolf as a helpful
symbol for her life.

Both are works from
the Women's Heritage Series.

2008-08-25T17:13:00.000-07:00

THE METAPHORIC EYE

"My Muse Takes Me Out to a Sidewalk Cafe"

The process of creating art, for me, whether expressed in visual forms or in words, is an intuitive process, in which
connections between different images are noticed, and
demand to be recorded. The connections between diverse images seemed to convey meanings beyond those of single
images.

This first happened many years ago while working in the darkroom in a photography class. Soon this way of seeing
spilled over into other art forms, such as etching and painting. Eventually drawn to Photoshop as a tool for
creating art, I began to mix the effects possible by using
many media in combination.

I have been a closet writer as well, and often have been attracted to poetry. There is an obvious link between the two forms. Metaphors are not limited to words. Perhaps images are the most primeval metaphors of all.

I invite others to share their thoughts about their
unique creative process. Or if anyone has questions
about these comments, I'd love to answer them!

Ruth Zachary MONTAGE

Changes

BLENDING ABSTRACTION WITH REALISM

Geometric Abstraction

GEOMETRIC COMPOSITION

Geometric/ Patterned Composition

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MONTAGE IN ILLUSTRATION

INTEGRATING REALISM INTO ABSTRACTION

Writing and Art Images are the sole © Copyright of Ruth Zachary

LAYERING FIGURE DRAWINGS OVER A BACKGROUND

COMPOSITION IN BLACK AND WHITE

Playing with Letters, unfinished study

for black and white abstraction © by Ruth Zachary.

.

The Shape Shifting Approach to Composition

DOUBLE DUTY USES FOR YOUR ART WORK

Grandmother Time, drawing in pen and ink and on the computer about 7x8” by Ruth Zachary

ANOTHER EXPERIMENT IN PHOTOSHOP!

GOSH DARN IT!

COMBINING ABSTRACTION WITH REALISTIC IMAGERY

More Photoshop Experiments

.

IMPROVE THE ODDS OF HAPPY ACCIDENTS Part 3

ANOTHER EXPERIMENT IN PHOTOSHOP!

EXPERIMENT WITH PHOTOSHOP!

COMBINING ORGANIC WITH GEOMETRIC COMPOSITION

Images and Writing are the Copyright of Ruth Zachary ©

Composition with Abstract Art

The Value of the Thumbnail Sketch

Visualizing

Creating With Collage, Part 2

Creating With Collage

"Virtual" Housecleaning

Being Part of Your Art Community

A Dynamic Art Community Needs You.

NOT A DRESS REHEARSAL

Not a Dress Rehearsal

Imagery and writing is the © Copyright of Ruth Zachary

SUBJECT TREATMENT: More on the Line

SUBJECT TREATMENT: LINE

FORMAT SHAPES AND DIVISIONS

DESIGNING THE PICTURE PLANE

THE MANY WAYS TO PRESENT A SUBJECT

POINT OF VIEW

COMPOSITION IN REALISTIC ART

COMPOSITION IN TWO DIMENSIONS

WHAT APPROACH IS NATURAL FOR YOU?

WHAT IS STYLE?

WHAT MOTIVATES YOU TO MAKE ART?

DO YOU DEFINE YOURSELF AS AN ARTIST? A-1

MONTAGE WORKBOOK SERIES - Introduction 1

BALANCING THE ARTIST'S LIFE

VINTAGE MONTAGE USING PHOTOSHOP

MIXED MEDIA

EMOTION AS A CREATIVE STIMULUS

METAPHORIC MONTAGE

CREATING FROM MEMORY

HONORING YOUR OWN BEST PROCESS

WOMEN'S HERITAGE MONTAGE SERIES

HONORING YOUR OWN BEST PROCESS

WHAT INSPIRES AN ARTIST TO CREATE?

WOMEN'S HERITAGE SERIES

RUTH ZACHARY ART

MIXED MEDIA USING PHOTOSHOP

USING PAINTING IN PHOTOSHOP

MORE PHOTOSHOP TIPS

TECHNIQUES USING PHOTOSHOP LAYERS

TECHNIQUES USING PHOTOSHOP LAYERS

INTAGLIO HAND MADE PRINTS

Earth Woman

Montage- Compressing Time

MONTAGE IMAGERY