Paw Prints

A week or so ago, I played with acrylics and Golden Gel Medium (gloss). I enjoyed mixing the colors into the medium — although some of the acrylics in my palette were a bit stiff — and painted over a piece of scrap cardboard (roughly 9″ square). Part of my attraction to ATCs is the ability to free things i’ve meade, even experiments, instead of hording them. So, i’ve cut out four regions as ATCs. They’re part of the Silence series because i was trying to get that same sense across, but it didn’t quite work, particularly cut down to ATC size.

I’ve taken some photos of these and will add to the gallery; the photos aren’t as good as the scans were were getting. *sigh*

The Editions

JEB-ATC2003.05.08 : Grow 1
2003/09/05
(magenta/red slash)

JEB-ATC2003.05.09 : Grow 2
2003/09/05
(yellow green; more translucent)

JEB-ATC2003.05.10 : Grow 3
2003/09/05
(two toned)

(Click for the series album)

This entry has notes about the original photo series and a link to the photo album.

20030817: I spent about an hour and a half on 10 & 11. I noticed i can get the effect of tiling without slicing all the way to the vertices — thus, if two tiles from the same souce meet they can be left joined at the vertex and can be reassembled more easily.

I’m not happy with the alternations between 10 & 11. I think the squares should have contrasted with the octogons, but i initially rejected that as a choice because it didn’t mix the two photos evenly enough. This stripe effect is OK, but…

JEB-ATC2003.02.10: Octogon Obverse
2003/08/17
Simple tiling pattern cut through two photos (taped together to the pattern). Used Golden Gel Medium as the adhesive. I don’t think it works that well with the tiles. When the paper bends, the tiles seem to come up at the edges. I touched it up a bit with Avery Permanent Glue Stic.

JEB-ATC2003.02.11: Octogon Reverse
2003/08/17
(See #10) Birthday Card for Aunt Judy

JEB-SAW2003.02.03: Anchored against the Storm
2003/08/17
Made into a card for Aunt Judy, from 2002.11.21

JEB-SAW2003.02.04: Bonita Light
2003/08/23
for asdf, from 2002.11.16

JEB-ATC2003.02.12: Sea Meets Sky
2003/08/23
Simple weave. Sky bits came from a number of different photos.

JEB-ATC2003.02.13: Baker Beach Dog
2003/08/23
from 2002.11.22

JEB-ATC2003.02.14: Bonita Bridge
2003/08/23
from 2002.11.15

Symbols as writing prompts

tree

celtic cross

borromean rings

cup (goblet)

salmon

(07) Instructions

(08) Alternative consideration symbols. sterotype, connotation

JEB-SAW2003.04.01: Hand with Lotus (For Kimberly)
2003/08/16
Higgins non-waterproof ink (which didn’t get along that well with the frisket), soft pastels.

JEB-ATC2003.04.01: Hand with Lotus

History

2003/08/16: drew “Hand with Lotus” in Higgins permanent ink with Globe nib. I was surprised how thick the permanent ink was compared to the non-waterproof. It coats the pen and dries up on it whereas the nonwaterproof beaded up. I researched northwestern North American portrayals of the salmon. ( here and here.)

See JEB-ATC2003.02.01-06 for more cards in this series.

Click for thumbnails of the whole series

JEB-ATC2003.02.07 : Interaction
2003/08/09
Yesterday’s experiments in weaving merged with my memory of doodles when i was growing up — concentric shapes, interleaving. Here, i’ve woven shapes that have been sliced into concentric shapes, all from the same photo of feral cabbage, pillow basalt, and Pacific ocean. Some tape was used to stablize while weaving. Remaining bits of the photo were mounted as a background with Avery Permanent Glue Stic. The collage was then mounted using Mod Podge with a protective coat over the top.

Notes shared with ATC-hub

JEB-SAW2003.02.01 : Lighthouse Interaction
2003/08/09
My spouse really liked the direction of Interaction until i trimmed the edges. This work is for us to keep, from two photos: one of Point Bonita lighthouse, one of the sun pillar sunset.

JEB-ATC2003.02.08 : Point Bonita Lighthouse
2003/08/09
Photo mounted with Avery Permanent Glue Stic.

JEB-SAW2003.02.02 : Red Roof
2003/08/09
Photo mounted in card frame with Avery Permanent Glue Stic. (I’d made note cards with digital reproductions of this image before.)

JEB-ATC2003.02.09 : Sky Interaction
2003/08/09
As with Lighthouse Interaction, with the remnants of the photos.

(Click for the series album)

This series uses the photos from roll 2002-11, a series of photos shot around the Golden Gate. Let me note that “Golden Gate” applies to the strait that connects San Francisco Bay to the Pacific Ocean. The Golden Gate Bridge straddles the most narrow part of the strait; on the ocean side the strait widens out into a shape like a “u” on it’s side, the wide opening facing west towards the Pacific. The bridge and the opening to the bay is where the u’s descender is, to the north. South of the bridge and running roughly north to south is Baker Beach, a sandy stretch scoured by the fast currents that speed in and out of the bay with the change of the tides. The northern side of the strait is lined with the high bluffs of the Marin Headlands. The westernmost point is called Point Bonita and is the site of a lighthouse. The southern side of the strait is lined with the mansions of the Sea Cliff neighborhood and the greens of the Lincoln Park golf course. The southern entrance of the strait is marked by a navigational light called Mile Rocks. What once was a distinctive lighthouse has been replaced with a orange and white cylinder topped with a helipad. From Baker Beach it is very hard to appreciate the scale of this marker!

Original Photo Notes

Film: Kodak MAX 400
Camera: Minolta Maxxum 5.
Developer: York Photo Labs
View original photos here.

Frames 1-4 of this roll are of a sun pillar over Point Bonita at sunset on 2002/06/07.

Frames 6-21 were taken out at Point Bonita on 2002/06/08. I was experimenting with a Cokin filter (123).

Frames 22-25 were taken on Baker Beach 2002/06/15, northward towards the Marin Headlands. I was experimenting with polarizing filters that day (circular polarizer, then with the red/blue polarizer).

Series Notes for 01-06

(Series will close when all the original York printed photos have been used up.)

JEB-ATC2003.02.01 : Ocean Twill
20003/08/08

Two shots at Point Bonita, one with a blue filter to tint the sky (and also change the amount of light from the bright, hazy sky), one without. Aligned, sliced into quarter inch strips and woven as a twill. Tape used to stabilize the back of the weave. Mod-podge gloss applied to back of photo weave and to cardstock, wrapped in parchment paper, pressed under book. Taken out 15-30 min later to have Mod-podge appled to the end of strips that are on the top of the twill at the edges. Pressed in book again.

JEB-ATC2003.02.02 : Sun Pillar
2003/08/08

Three shots of the Sun Pillar, assembled in narrow strips.

I’m not thrilled with the mitering job here.

JEB-ATC2003.02.03 : Sunset Twill
2003/08/08

From the same three shots, as with Ocean Twill

JEB-ATC2003.02.04 : Sunset Check
2003/08/08

From the same three shots, as with Ocean Twill but different weave.

JEB-ATC2003.02.05 : Headlands Sunset
2003/08/08

Remaining strips of the sunset photo attached to cardstock with Avery Permanent Glue Stic. Embelished with Daler-Rowney Perlescent liquid acrylic (Birdwing Copper and Dutch Blue) and Higgins non-permanent black ink.

JEB-ATC2003.02.06 : Pillows & Cabbage

Photo mounted with Avery Permanent Glue Stic

The interpretive text at the lighthouse points out that the cabbage that grows wild is descended from the garden of the lighthouse keeping fmilies from years ago. The rock behind the cabbage is pillow basalt, formed when lava wells up under water.

The image links to thumbnails of all seven cards

This series is closed.

(See Eliza Badurina’s ATC Trade)

I poked a bit at stars in Norse mythology when i began contemplating Eliza’s theme, but the few stories where stars come into play didn’t quite catch my fancy. I then turned to Barbara G. Walker’s The Woman’s Dictionary of Symbols and Sacred Objects. Section five, Multipointed Motifs are where i found representations of all of the window stars. Still, while Walker provides an interpretation for all the stars, it was flipping through Miranda Lundy’s Sacred Geometry that the idea to do the star windows came to mind. Not only does she have some simple ruler and compass instructions for sectioning a circle into seven and nine, she also has a diagram showing the geometric construction of a church window.

The drawings are done in Higgins non-waterproof ink with a copper plate nib labeled “426″ and some Japanese characters. The colors are Daler Rowney’s Pearlescent liquid acrylics (birdwing copper, silver moss, dutch blue, moon violet). A few of the cards are touched with Dr Ph Martin’s Iridescent calligraphy colors 12R iridescent white.