feline folk

fine art, A Creative Life, animals in art, artistic inspirations, Cats in art, cat portrait

Today the Pacific Northwest sun has been dancing in and out around the clouds like a dancer at a folk music festival.  Or like a cat singing for supper.

A Siamese cat and a black & white alley cat are on my work table…

WorkingOnSiamHobo2Cats72

 

feline fuzzy

A Creative Life, animals in art, art techniques, artistic inspirations, Cats in art, creative thinking

It’s finally begun raining regularly here in the Pacific Northwest and I love it. Today the rainy cool air made me think of contentment and fur.

Here’s artwork of Persian cat that is drying on my worktable. The cat’s name is “Harold”.

WorkingOn1Cat72

feline fine

A Creative Life, animals in art, artist book, Cats in art

Around the edges of writing a speech and getting ready for several major art-events I’ve begun to do some cat artworks. I’ll still be doing my dog art – don’t worry – I’m just adding cats to the mix.  In 2018 I’m hoping to do a book of cats – much like my currently available book “Dogs by Sue Clancy”.  https://store.bookbaby.com/book/Dogs-By-Sue-Clancy

Here’s a couple of cat art pieces currently drying on my work table.

WorkingOn2Cats72

 

may the fourth edition be with you

A Creative Life, art techniques, artistic inspirations, Authors, books, functional art, graphic narrative, illustration, publications - publishing, published art, words and pictures

Hanging out at a bookstore yesterday with friends I happened to spot the book “Making Stuff and Doing Things: DIY guides to just about everything!” edited by Kyle Bravo  https://microcosmpublishing.com/catalog/books/1400

This book is now in it’s 4th edition and there’s one chapter by me titled “Why Make A Zine or Artist Book?”.

Back in 2003, if I remember correctly, my work was included in the first edition. Rereading my work now in the new 4th edition I’m still proud and honored to be included!  It really is a useful-in-creative-life book – I’m not just talking about my own chapter.

Here’s a teaser hint of some of the book contents in addition to mine.

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And here’s a teaser page spread from my chapter within this useful book:

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Sharp readers of my blog will probably notice that I’ve used one of the book-stitching techniques I mentioned in “Making Stuff…” on my current project “Time Tavern” (here’s a link to some Time Tavern posts; stitching the book here and more progress here.)

And here’s a panoramic photo of me along with Sweetie and one of our friends (the 4th friend was taking the photo) outside the bookstore Annie Bloom’s Books in Portland Oregon.  http://www.annieblooms.com/

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the rough bark of culture

A Creative Life, art exhibit, art gallery, art techniques, artist book, artistic inspirations, Authors, books, creative thinking, dog portrait, Dogs in Art, fine art, handmade books, handmade papers, mental health, visual thinking, words and pictures

This coming Friday at the Joseph Gierek Fine Art Gallery (www.gierek.com) an experimental art exhibit of mine titled “The Rough Bark Of Culture” opens!

Yes, there are dogs. Lots of dogs. About 24 of them. Dog art that is. Clancy style.

The experimental part of this exhibit is that instead of being 24 works framed and hanging on the wall like a typical art installation – I’ve added my artist book thinking to my fine-art exhibit idea.  Which means my entire exhibit is intended to be an intimate experience.  Think curling up with a book. Or playing with a deck of cards.

Lucky for artist-me the gallery owner is willing to be playful.

Here’s what gallery-visitors will find: a box that looks like a leather bound book. I made the box and covered it with my hand dyed paper, paper that I’ve given a rough physical and visual texture. I designed the cover and the spine and various elements so that it appears like a book.  When closed this book-box measures 9 inches tall 7 inches wide and 2.5 inches deep. When you open the top “cover” it opens out to be 14 inches wide.

TRBOCCover72

Below are a couple of different angle-views of the cover so you can see the spine has the typical book-markings and that the edges of the box are painted to look like book text block “pages”.

Inside the book-box cover is a handwritten statement that puts my art-object-exhibit in a context.

TRBOCopen172

Then further inside there are 24 individual hand created dog art pieces done in my ink on handmade paper style. Each artwork is in an archival sleeve so that a viewer can flip through the box-contents like a book. (there’s even a ribbon to help people lift out the ‘pages’) Or the viewer can take out the pages and lay them out on a table and re-sort them.

TRBOCopenspread72

Below is some of my thinking behind the exhibit – including my resource book list. I referred to some of this book-research-resource mining in an early blog post here.

General exhibit thoughts for “The Rough Bark of Culture” by Sue Clancy

It is said that humans are the only animal that laughs, cooks (using heat and spices/herbs), develops music, creates art, writes/collects/organizes/shares information across time and space, sorts things numerically and devises elaborate rules for playing games simply for amusement. The ability to read and absorb information via symbols in pictorial and written form is also a uniquely human ability.

Humans are curious, they experiment, seeking novelty and creativity. Wanting enthusiasm – not boredom – they play. Play is part of being human. Play is also an essential component of being creative.

Creativity, communication and organization are attributes of being human. But in modern times it can be hard (rough) to carve out time to play, to be creative, to sort and organize information – to do those very things that make us human.

This exhibit is about what makes us human.

Why dogs? Dogs are enthusiastic about being alive – that’s why I’ve chosen them as my character “actors” in my artwork.  It’s a way of remembering that humans have the ability to create the world around them in ways that make life more comfortable, more fun – so that we can be more enthusiastic about being alive.

Reference material:

“Wonderland: How play made the modern world” by Steven Johnson

“The Creative Spark: How imagination made humans exceptional” by Agustin Fuentes

A quote I used as a guiding light – so to speak:

“To imagine is everything. To know is nothing at all.” Anatole France

Exhibit statement (which means I neatened up for handwritten inclusion in my book-box the thoughts outlined above):

It is said that humans are the only animal that; laughs, cooks (using heat and spices/herbs), specially crafts beverages, develops music, creates art, writes/collects/shares information across time and space, sorts things numerically, reads books/information in order to learn and devises elaborate rules for playing games simply for amusement. Humans sometimes share with dogs an enthusiasm at being alive – seeking novelty and creativity rather than boredom.  Unlike a dog, humans are able to plan and organize our time. We can defer gratification. Yet modern life sometimes makes it hard to carve out time to be creative – rough to do the very things that make us human; play.  This exhibit is about remembering to be human and enjoy life.

TRBOCspread72

If you want a flavor, a hint, of what this exhibit is like there’s my conventionally printed and bound book “Dogs by Sue Clancy” – https://store.bookbaby.com/book/Dogs-By-Sue-Clancy

Creating a conventional book on this exhibit topic helped cement my idea that I also wanted my viewers to be able to physically “play” with my artwork. Even so – I’m proud of the printed and bound book too. It’s playfulness of a different sort. And able to be more widely available than a one-of-a-kind-art-exhibit in a gallery can be. Having both kinds of play available – the team kind or the individual kind – are important to me.

And speaking of teams; it’s almost time for me to go meet up with friends for a book-store browse and then to go to happy hour! Adult team play! Yippeeee!!

progress on public art piece

A Creative Life, art commissions, art techniques, artistic inspirations, creative thinking, drawing as thinking, fine art, public art, publications - publishing, visual thinking, words and pictures

In my last blog posts I’ve been talking about one of my current projects: I’m doing an illustration, a public art piece and giving a speech for Salmon Creek Journal and Washington State University.

Here are a series of photos, covering a several week span of time, showing my progress. In general my process was to do short spurts of work on one area, let it dry, come back do a bit more…slowly building over time.  My sweetie randomly came in to my studio and took these photos as I worked.

First I took all of my character/species/size research and the characters I developed from my research (detailed in my last blog post here) and I laid out my crowd shapes using a watercolor pencil. Then I begin to fill them in. Since I’m taking my own advice about drawing crowds (blog post with that info is here) I’m beginning with one of my main characters and the crowd shape that character is in.  That’s what you see in the photo below.

AtWk1

I’m using watercolor pencils, watercolor and ink on handmade paper. It’s risky – one stray bit of ink and – crikey! I’m living dangerously and loving it! In the photo below I’m filling in more characters.

AtWk2

Now (below) you can tell I’ve been working a while. It’s getting (pun intended) crowded. So to help myself make sure I’m putting additional characters in the correct spots – since things are getting tighter – I’ve taped some of my preliminary character sketches above where I’m working on the finished artwork so I can work from them. You can see some of my preliminary drawings at the top of this photo below.

AtWk3

In the next photo all of the characters are now in place and I’m starting to work on the background. This doesn’t mean the characters are finished. It just means I’ve gotten them to a certain point of development. As I work on the background I’ll pop back to work on a characters details, colorings and shadings to make it more distinct.

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Below, you can see my progress on the background. There is, however, a lot more work to be done.

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And here I’m going to stop posting on this project for a while as I’ve now caught up with Amanda The Editor.  I’ll post more later about this project when possible.

You can see some of Amanda’s posts about this project via the following links that contain details about the event where I’ll be speaking (including a bit of a statement from me) as well as a call for additional submissions for the magazine: https://orgsync.com/26883/news_posts/230672 and https://orgsync.com/26883/forms/275549

public art a magazine illustration and a speech

A Creative Life, art commissions, artistic inspirations, business of art, creative thinking, drawing as thinking, public art, publications - publishing, visual story, visual thinking

I can now talk publicly about one of my current projects: I’m doing an illustration, a public art piece and giving a speech for Salmon Creek Journal and Washington State University!  The unveiling of the public artwork, and my speech, will be in October. And the magazine illustration will flow from that. Here’s how it all began:

You know I’m deaf right? Well some time back now at one of my local libraries I gave a drawing demo and signed copies of my book “Dogs by Sue Clancy”.  During the demo, (picture me wearing an apron, ink brush in hand, art materials surrounding me on a table and an ever flowing/ebbing group of people watching and asking me questions) a woman walked confidently up to my table.  To my Deaf ears she said “I’m glad to see you! My name is Amanda Xbmlsnn and I’m the editor for Whelngfm Fumeek Ourmrnal magazine. I’d like to talk to you about fmesryulm tjosun. Are you on social media?”  I replied “Yes, I’m on social media. My cards have my contact info. What did you say…” “Great!” said the lady, grabbing one of every card I had on the table “I’ll contact you!”  Off she went. Someone else asked me a question and the rest of the day flew by with a whooshing sound.

A few hours later when the day was done my sweetie came to help me pack up my art materials to leave the library. “How did your day go?” she asked. “Very good – but, darn my ears, I met an editor from a magazine and I didn’t hear her name or even the name of the magazine!!” I said feeling slightly frustrated. Sweetie, knowing that editors are some of my favorite people on the planet, commiserated with me. Feeling somewhat soothed I sighed “I’ll just have to hope she gets in touch with me.”

We went out for a restorative dinner and relaxed for the rest of the evening.

When I next checked my computer I had an email, a Twitter message, a Facebook message and an Instagram message all from Amanda The Editor of Salmon Creek Journal!

There was a lot of subsequent discussion via messages, but in short, the magazine (Salmon Creek Journal – SCJ) wanted to select one community submission to feature in both a gallery showcase and their 2018 print issue – and my work was what they wanted to be the “one community submission”!  The projects relates to a program called “Dis(covering)ability” – so me being Deaf was a virtue…

We arranged for a face to face meeting at the Washington State University (WSU)campus. I brought my camera and took about 45 photographs for my own use as I created my artwork. I took lots of handwritten notes as Amanda The Editor and several other people talked about the campus, about their project and what artwork they hoped for from me.  (My kind of artwork; my use of elements of a physical place etc. was what they wanted! And they wanted me to come give a speech…) Sweetie came with me to the meeting and took notes too. (After such meetings Sweetie and I compare our notes and many of my hearing gaps are nicely filled in!)

Here are a few of the photos I took during the meeting. Sharp-eyed followers of this blog will probably see a correlation between these pics and my finished artwork – which I’ll post eventually. (I mustn’t get ahead of Amanda The Editor in the posting/promo about this project. So I’ll be following her lead on when to post what…)

Since the students are the focus of the SCJ magazine and of the WSU campus – and the focus of the event “Dis(covering)ability” itself – I focused on creating an artistic design that emphasizes the people yet has a flavor of a specific to WSU place. I also wanted to imply a story in my wordless way of movement, of the discovery of sky’s-the-limit ability.

During our meeting on campus I was told that most of the WSU students first experience of campus is on a tour. They said that the fountain was a regular meeting place for students.  As we walked about campus during the project meeting I saw lots of squirrels chasing each other, and birds flying about. I noticed that many of the buildings had a similar brick/tile pattern. All of these observations – and many more – were recorded in my notes.

Back at my studio I looked through my photos and my notes – and Sweeties notes – and I began drawing thumbnails for an overall design. Then I did research to determine the average-height of the characters to be included in the artwork and designing the overall crowd shape.  (In my last post, here, I wrote my tips for drawing crowds.)

Here are a few photos of me at work:

In this pic I’m consulting one of my “animal encyclopedias” and comparing height of various species and listing/drawing a possible grouping.  (Yes, that’s my dachshund on my lap ‘helping’ me work.)

CrowdSizeResearch

In the pic below I’m developing some of the characters that I’d settled on in the first photo. I did lots and lots of drawings of characters in order to settle what they’d be wearing, how they’d stand, who they’d be standing next to and what kind of expression they might have on their face.

CharacterDev72

Days, if not weeks, went by filled with regular work like what is photographed above. My “SCJ/WSU” sketchbook for this project is, by now, almost completely full of notes and sketches.

Here, for fun, is another page of sketches:

MoreCharacters72

As per my arrangement with Amanda The Editor I kept in touch with her and sent almost daily photos of my progress. Some of which she posted on the SCJ social media pages – and others she kept for possible posting later.

So I’ll stop this blog post here for now and see what Amanda The Editor does next. Besides it’s almost time for my supper.  But before I go here is a photo, taken during our on-campus meeting, of Sweetie, Me and Amanda The Editor.

3ofUs

 

 

Clancy’s 5 tips for drawing crowds

A Creative Life, art techniques, artistic inspirations, commonplace book, creative thinking, sketchbook, visual thinking

I’ve been so busy with other projects that I can’t talk about in public yet that I’ve not had time – not even 5 spare minutes – to work on my Time Tavern sketchbook. So to come up with a blog post update today I flipped through my sketchbook/commonplace book.

Crowds of characters feature prominently in one of my can’t-talk-about-it-much-yet projects – and are also part of my Time Tavern sketchbook too.  So as part of my work on these projects one afternoon, a month or so ago, I went through several of my art technique books to refresh my technical skills for drawing crowds. I wrote the various relevant pointers as well as my own thoughts in my sketchbook.

Here below is a picture of  my sketchbook page.

CrowdDrawingTips72

In case you can’t read my handwriting I’ll type it here – and tweak the text I wrote by hand in my book, based on my recent experience in drawing crowds for my various projects:

Five Crowd Drawing Tips:

  1. Start at the front of the crowd. Do the figures with the most detail that are upfront/closer. The looser and less detailed characters will read as “in the distance”. Try to capture the type of characters within the overall scene as that gives the viewer the flavor of the event/place.
  2. Focus on the crowd shape as a whole. See the crowd as a single abstract shape – or as several shapes put together. Select where to put the details so as to guide the viewers eye around the crowd-shape(s).
  3. Keep it within a perspective. Is the viewer standing within the same level as the people in the front of the crowd? Or viewing the crowd from above or below?  You won’t see the characters in the back of the crowd unless you are in an elevated position.  Find a character of “average height” to use as a measuring gauge for placing the other characters. Use the average height as a natural horizon line and/or an assist in creating the crowd shape.
  4. Use characters arms, bags, objects held, angle of the head and other elements as a way of showing movement and guiding the viewers eye around the crowd shape.
  5. Crowds will have a main set of colors – like at a sporting event, though maybe not that extreme – it is possible, helpful even, to lay down areas of color within the crowd shape and add details over that. Color placement can help move the viewers eye. If one particular character is the focal point or stands out in the crowd then use the most color and detail on them and leave the others more or less implied. The main set of colors within the crowd shape can guide the colors used within the setting/scene around the crowd too.

 

more from time tavern

A Creative Life, artist book, sketchbook, The Sketchbook Project, visual story

I’ve been very busy lately on several major projects that I can’t talk about publicly yet. Which is why you’ve not seen much of me online. I have managed to squeeze in a bit of work, 5 minutes here or there, on my sketchbook for the Brooklyn Art Library’s Sketchbook Project. I’m still thinking the title of my sketchbook is “Time Tavern”.

Anyway, below are pics of what I’ve gotten done.

And yes, when I can I’ll post about the projects that I can’t talk about yet.

time tavern sketchbook progress

A Creative Life, artist book, sketchbook, The Sketchbook Project, visual story

The sketchbook I’m working on for the Brooklyn Art Library’s Sketchbook Project now has a name, a working title: “Time Tavern”.  As you can see from previous posts I’m thinking about time – and uses of time in cooking, food service, music and in telling wordless visual stories.

When I began this project I’d thought “Time Tavern” would be the title but I held off declaring it until I’d drawn a few pages.  Things sometimes change as a drawing progresses – particularly when I’m working on a wordless visual story.

In my earlier posts (see below for links) I’d shown close-ups of musicians and a chef at work. I’d also shown a birthday party in progress.  These 3 story strands are main ones – but they also need context in order to become a story.  The association or juxtaposition of images – and the sequence of them – is how I’m crafting my tale visually rather than by written words in a row.

The issue is how to do the same things writers who use written words do – plot movement, foreshadowing and character development – but in my case how to do those using only visual imagery.

As part of my original planning for this story I created a “layout” of the “Time Tavern” the pub setting where my story takes place.  This layout is part of my story strand weaving strategy.  Here you see my architectural layout:

TimeTavernLayout72

This architectural drawing won’t be included in my sketchbook – that’s just to help me organize my story.  The book to the side in the above photo is included as it shows me referring to my architectural drawing during work on that sketchbook page.

Below is one of the first setting drawings within my “Time Tavern” sketchbook – it shows the chef looking at his recipe cards. In the background you see the bartender looking at her recipe cards. You also see a bit of the stage area the musicians will use.  Perhaps you can see how I’ll be using my setting drawings as story context – and foreshadowing?

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I’m sure you’ll also note the large clocks in my settings – I’m using those as a story device to show the progression of time…

TimeTavernSetting72

Lots more to work to do…

My past posts regarding this project (so you can follow my progress) are here:  https://sueclancy.com/2017/08/10/sketchbook-project-progress/    https://sueclancy.com/2017/08/14/story-strands-in-my-sketchbook-project/  https://sueclancy.com/2017/08/16/sketchbook-progress-time/

General info about the Sketchbook Project is here: https://www.sketchbookproject.com/