They came in a big box. My early copies of the new print version of “Dr. Bob’s Emotional Repair Program First Aid Kit”! The official release of this book is November 1st – but you can click here for early access. I’ll be able to look at a print copy tonight while I brush my teeth – and that’s what I’d hoped for back when I started this project! But first – more happy dancing around the living room!
Here’s a link to an article written by Scott Hewitt for The Columbian about my art exhibit “Dear Readers” that is currently at Burnt Bridge Cellars! And a picture of the front page of the newspaper with a bit of my artwork on it and pictures of the other 2 pages. I was relieved to see that my artwork reproduced so well in print. Even though by now I know very well how to create images for reproduction I still breathe a sigh of relief when I see them looking good in glorious color print. Anyway, here’s the newspaper link all spelled out: https://www.columbian.com/news/2019/jul/18/vancouver-artists-ties-together-dogs-books-in-whimsical-ways/
Both gouache paints and acrylic paints reproduce well (even in newsprint!) but to my eye the gouache reproduces best of all. But then gouache was originally created for use in illuminating manuscripts back in the days, around the 16th century, when all “books” were hand written, hand illustrated and hand bound – one at a time.
Acrylic, a medium that originated in the late 1940’s, tends to be shinier and more difficult to photograph and thus get a good reproduction quality image.
Have I mentioned lately that I really like gouache??
Last weekend I spent some time looking through my cookbook collection which sits on the shelves next to my poetry collection. Since I’ve been practicing both cooking and writing I look to my favorite “masters” in each genre for inspiration. It’s nice to have them all in one spot. Mollie Katzen, Aliza Green, Rick Bayless and Maryana Vollstedt are some of my favorite masters from the cooking world. Edward Gorey, Edward Lear, Ogden Nash and Shel Silverstein are some favorites from the poetry world.
I spent the most “looking-for-a-recipe-to-cook” time with Vollstedt’s cookbook “The Big Book Of Soups And Stews” as it was a cold weekend. Plus a hearty stew puts me in a happy “comfort food feast” frame of mind. But the most “just admiring a cook book” time was spent with Katzen. However I did use one of Katzen’s salad recipes to go alongside a stew. I love the way Katzen hand lettered her recipes and illustrated them in her “Moosewood Cookbook”. My poetry time was divided between Edward Gorey and Edward Lear.
This concept of mashing up wildly different genres as inspiration to make something new? Well Austin Kleon has written wonderful creative thinking technique books about that – specifically Steal Like An Artist!
Anyway I combined my big pot of stew thoughts with the limerick poem form for this poem I wrote and illustrated below – which has been published now on They Draw & Cook.
I’m still practicing combining India ink and gouache – and doing text with a brush. I used a smaller size brush this time for the type – and all lower case letters. This brush-and-ink type style felt looser, more relaxed, than the type I did with a fountain pen for the birthday card – though both projects use a similar lower case. I like both methodologies and will probably use both techniques as they fit with the project at hand. But this brush style… I’m liking it and am finding my hand reaching for a brush more often.
What do you think?
This year I’m participating in the tiny sketchbook project at the Brooklyn Art Library – my sketchbook will travel to London, Paris and other places in Europe along with other tiny sketchbooks in a portable library that fits in a suitcase. My book will be in the Brooklyn Art Library’s permanent collection.
I’ve titled my book “A Mouse’s Book Of Scraps”. It’s a scrapbook from the point of view of a mouse. A Pacific Northwest Jumping Mouse to be exact. It’s fun to think about what kinds of things a mouse would collect; cheese rinds, vegetable scraps and landscapes.
Here’s a picture of my book in progress. The mint is there to show scale. And yes – it’s hand bound…
Happy New Year everyone! New on newsstands is a magazine, Oregon Coast Magazine, in which is a 4 page article that I both wrote and illustrated! It was such fun to do a “sketching the coast” article for them that I want to do more such writing plus illustrating this year. Here’s a link for Oregon Coast Magazine https://oregoncoastmagazine.com/.
I’ve finished the recipe illustration I’ve been working on for Chef Sebastian Carosi. I shared it with the chef and he said “I absofuckinglutely love this!”. So I take that as a good sign he’s happy with my illustration:
I was curious about whether the printing/production method I typically use would allow me to post a recipe that included cannabis. So to test that I uploaded the digital file. You can see it here: https://society6.com/product/roasted-butternut-squash-soup-with-lifted-honeyed-yogurt-with-hemp-seed-oil_framed-print?sku=s6-10148641p21a12v52a13v54#
I did use the “mature content” designation on the Society 6 site – but it looks like it will work!
I’ve finished the handwritten ink work and the illustration painting for the recipe I’ve been doing for Chef Sebastian Carosi. (Past blog post re here) Now I’ll begin the photography and scanning processes to get it ready for print publication and etc. projects the Chef wants to do. The get-my-hands-messy art part is done. Now to do the keep-hands-clean graphic arts part…
The original artwork of the recipe, the physical painted with gouache and written in ink on hot-press watercolor paper recipe, will stay in my studio in an archival sleeve in a portfolio. At least for a time. It’s the digital files of this art we’ll work with. The artwork will stay with me just in case the Chef needs it re-scanned it for an un-foreseen-at-this-moment application.
This is a different approach from my fine art where once the artwork is finished I photograph it then frame it or otherwise make it ready for gallery exhibits – and off the physical fine artwork goes to it’s life in the galleries and then (hopefully) to a happy home with a collector.
In some ways this recipe artwork that will stay in my studio archives may likely be more widely seen by the public, because of publication, than many of my fine artworks.
It’s a curious thing this creative life. But I love it!!
I’d written recently here about my progress towards making a 22 page full color book of my cat themed artwork. Well, I’ve gotten my “proof copy” in the snail-mail, showed it to Hawkeye my studio supervisor cat – and my wife, a cat-lover – and all of us approved of the print quality! Even Rusty, my studio supervisor dachshund, admitted that the cat art looked good.
I’ve photo’d a few pages so you can see for yourself:
What do you think?
Right now you can get a copy – either softcover (like in the picture) or hardcover – here: http://www.blurb.com/b/8837851-cats or via Amazon. Later this year I’m to do a library event and I may have a few copies at that time to sell directly. We’ll see…
But no matter how this particular cheese gets sliced I heartily thank you for your support of my projects.
I do better now, writing words-in-a-row, than I did once upon a time. Reading text has never been a problem for me – but speaking, and writing. Whew! Lets just say good speech therapists, theatre-acting coaches and writing class instructors are worth their weights in all the precious things in the world combined. As a kid practicing speaking by reading aloud from a comic book or a picture book felt less intimidating than reading aloud from a text-only book.
Even today I enjoy visiting art museums and galleries and looking at the artwork first, reading the labels last. I enjoy looking at coffee-table books with big glorious pictures – forming my own thoughts first – reading the words later.
Nowadays I read plenty of books cover to cover that have text only, no pictures at all. I even give demo’s and talk in front of 200 or more people without as much as a blink. (Wish my 10 year old self, who threw up at the thought of giving an oral book report, could see me now!)
So it has become a philosophical point to ponder with me – when is text important? When is an image important? When to have the words? When to have the pictures? How much of either?
For example I love it that signs for the restrooms are often pictograms. You can “read” them no matter what your language – or your linguistic skill level. Much of our international travel culture utilizes visual maps and non-verbal way-finding signs for things like hospitals, airports and government buildings – using pictograms rather than single language dependent text.
As I’ve worked on a new artist book containing my cat themed fine art I’ve thought a lot about whether or not to have text along with the images. If text – how much? Text located where in the book?
When I did my book “Dogs” I had the text at the end – and didn’t include much of it there either. The majority of the book is images.
On the one hand I spend quite a lot of time coming up with the titles for each of my artworks and it seems almost a shame to not list the titles. But I’ve often noticed – at museums and galleries – that people read the label-wall-text and sometimes forget to look at the pictures.
So sometimes I deliberately create text for use in my fine art gallery exhibits… just to be contrary. I’ve even created whole artist books with text and sketches to accompany my fine art exhibits. But sometimes I omit text completely and rely on my art images alone, the curious can ask the person running the gallery for more info. In this way I purposefully encourage people to verbally-talk with each other. Which way I go – words and/or pictures – often depends on the exhibit.
Like I say for me the words and pictures question is an ongoing, almost daily, one.
People seem to enjoy my Dogs book as it is – largely without text. And I’ve noticed that I’ve sold that book fairly well in non-English speaking countries. People of all ages seem to like it. So….
“Cats by Sue Clancy” will be largely wordless too. Here’s what the cover will look like:
The book is square, 7×7 in, 18×18 cm and 22 pages – full color. Here’s an early-reader link to the book http://www.blurb.com/b/8837851-cats In fact “Cats” has even fewer words than “Dogs” does – but more pictures in full color.
I’m sure I’ll continue to have this words and pictures discussion with myself in every book and every art exhibit I create. But I’m curious about your thoughts: do you look at words first? Or pictures first? What are your thoughts about wordless books?
Because I’ve been asked to I’m including in this blog post the entire interview with me for the Salmon Creek Journal 2018 issue titled “Angles We Have On Things: A Conversation with Sue Clancy” by Amanda Flynn. I asked permission to post this and it was generously granted. (The people at the Salmon Creek Journal – SCJ – magazine love you!)
Salmon Creek Journal, a literary journal, is a publication of the Washington State University Vancouver and is generally available around campus and a few other places in the Pacific Northwest. (Yes, it’s very like a limited artist book production!) When I mentioned online that this interview coming out I was contacted by fans of my work who live in far-from-the-PNW places, Ireland, England, New Zealand and Australia, asking me to make it accessible to them. So here goes.
Here’s what the printed 9.5 tall x 8.5 wide x .5 inch thick magazine looks like with my coffee cup beside it:
The interview is primarily about “Heroes’ Journey”, a public art piece I did for WSUV at the end of 2017 – and also a conversation about living the creative life. My artwork is reproduced handsomely in the magazine but since I can I’ll include the digital file of “Heroes’ Journey” here:
And below is a series of photos of pages 94 through 101 that make up the interview. I’ve photographed the pages rather than re-type the text of the interview because I think the visual layout and the flow of images and text are an intrinsic part of the interview. I’m thinking the photos are large enough that you’ll be able to zoom in and be able to read but in case you prefer to have a pdf file (at a higher resolution) you can freely download that here – SalmonCreekJournalInterview
Amanda Flynn did an excellent job with the interview questions – they were fun questions for me to think about and answer, she was fun and easy to work with – and I’m proud to have been a small part of this magazine issue. I thank her and the current SCJ editor Alex Duffield for permission to post this (and I thank them both, and the SCJ staff, for loving my fans with me!).
Of course the magazine has a lot more to offer than just the stuff about me and my work. I’ve enjoyed a number of the poems, essays and photographs by artists like Cory Blystone, Jehoon Jung, Richard Boneski III and Joseph Colombo and many others. Like an artist book this Salmon Creek Journal issue is more than just a collection of random entries, it builds to whole concept, the form and content are symbiotic, with the magazine becoming an art object in its own right.
I’m hoping that eventually the staff at SCJ will create a digital version of the entire 2018 edition so that you’ll have access to more of the work. They did a digital version of the 2017 issue on their website here – so I have reason to hope. [Update: They have now done the digital version!! You can see it here: http://www.salmoncreekjournal.com/salmon-creek-journal-2018/ ]
Thank you again to Amanda Flynn, Alex Duffield, the SCJ staff and everyone at WSUV for this delightful opportunity! And thank you, my dear fans, for your interest in my work and your desire to see this interview! I hope you’ve enjoyed it.
(Oh, and for additional amusement, here’s the post I did the day back in February that the interview actually happened – https://sueclancy.com/interview-about-my-public-art-at-wsu-vancouver/)