anika mari

In the process of experimenting with watercolor prints, I inadvertently created a unique watercolor painting.

While working on the print, I rested palm fiber cutouts on another sheet of watercolor paper in order to apply the paint. The different greens created an outline around the center white space that was covered by the cutouts. I liked this byproduct, but I also felt that there was something missing. The shapes looked like little empty pods that were just begging to be filled with ink drawings.

My next step was obvious, but since I only had the one painting, I explored a bunch of different patterns and textures in pods that I drew in my sketchbook.

After filling two sheets of paper with patterned pods, I was pretty happy with a number of them. When I sat down to do the final drawing the next day, the second page of sketches was mysteriously missing! I honestly have no idea where it could be, or how it could have gotten to wherever it is. I couldn’t remember all the pod patterns from the missing sheet, so I started a new set, scribbling down the ones that I could remember first and then adding new ones. I ended up doing one more page after that, for a total of 3. The missing sheet will have to remain a mystery to us all. Unless of course it turns up at some point.

If you want to take a look at the 3 pages of sketches in more detail, you can check them out here, here and here.

Perhaps it was lucky that my second page of sketches went missing since I ended up using a couple of patterns from the last 2 pages that I hadn’t developed in my first round of studies. I examined the different pods in the painting as individuals and as a group to decide where to draw the different patterns. I wanted to include a variety of patterns and textures that are each unique enough to add interest when viewed in detail, but that also share a similar visual “weight” so that no one pod would jump out from the others.

I (almost) accomplished achieving uniform visual weight amongst the different patterns. From further away, the one that sticks out is the chevron or braided pattern. When viewed closer, I don’t think it stands out quite as much.

Now that it’s done, there are a few adjustments I would have made if I could start over, but I’m going to leave well enough alone and call it done.

This was a fun and relatively easy project. What surprised me the most was that watercolor paper is actually very nice to draw on with rapidograph pens. I expected that the rough texture of the paper would make the act of drawing equally rough, but I was able to maintain very good control. The paper seemed to love the ink, and it didn’t bleed a bit.

For my next work I’m going to draw on bristol board and combine the drawing with cut up pieces of the green print since I wasn’t happy with the final result of that piece. I’m curious to see if it’ll be easier to draw on the bristol than the watercolor paper, or if I’m in for a surprise since the watercolor paper provided a surprisingly delightful drawing surface.

I’ve been in Saipan now for about 2 and a half weeks. I’ve been feeling very stuck about what to do lately, artistically speaking.  I have been focusing my attention to look out for inspiration for something to draw.  Patterns. doodles. little creatures or plants. something. anything.  I was gathering some visuals and inspiration from my environment and experiences, but it felt so deliberate and forced, that I never could bring myself to sit down to actually draw something.  At some point I was sitting on the patio, staring at some palm trees, thinking about nothing in particular, and I thought to myself, “why don’t you just do prints?”

Ding, ding, ding!

The words were in my head before I envisioned what kind of prints I should do, but the ideas followed right away.  In my earlier explorations of the yard, I had found a fallen palm frond from a betel nut palm. The bottom of the stem is quite wide, and the texture was supple enough that I had plans to cut out shapes and do a version of my sewn leaves (I still just might do that!).  That original idea easily translated into using those shapes to create prints. I found some of the material, but it was dryer than before, so I was doubtful that I could make it work.  I searched around the yard to look for another frond or other material, and I found some interesting fibrous matter from the coconut palms.  It was also pretty dry, so then I got a clue from basket making–maybe I could soak the materials and bring back some of the flexibility, plus that might help the watercolor paint get soaked up better.

With nothing to lose if the material I collected disintegrated or worse, I plunged the stuff into a big bowl I’d filled with water.  I let it soak while I gathered the rest of my materials to work outside under the carport. I set up my workspace on the little wooden table and was soon ready to try out a print.

For my first attempt I worked with some of the coconut palm fiber.  Some of the material that was older, did indeed disintegrate, but for the fresher fiber, the water worked wonders. Not only did it make it more flexible, it also helped to clean off some of the dust and debris. I cut the material in the way it wanted to be cut, and what I ended up with looked a bit like a shrimp.  I laid the fiber on some watercolor paper and applied red watercolor paint. The fiber soaked up the paint and held it pretty well.

I carefully moved the paint heavy fiber to a fresh sheet of watercolor paper and I made my first print.

Obviously I had painted the background in a blue wash before applying the print. It dulled the red down, plus those two longer strands of red on the right looked weird and very un-shrimplike. I think it looks more like a prehistoric bird fish.

I had to adjust the shape of the fiber and the amount of paint a bit, but eventually I ended up with one print that I am very pleased with that actually looks somewhat like a shrimp!

As I was making the prints I realized is that by placing the fiber on a piece of paper to apply the paint, I create another painting that is similar in shape but has quite a different texture.

The water had finally brought the dry brittle betel nut fiber to life. I tried my scissors on a small section from the larger piece, and I could cut it easily and precisely. For my next two prints, I cut leaf/petal shapes from the thicker betel nut material.

For the first of these prints, I applied purple paint to the fatter shape and made one print.  It was alright, but it didn’t pick up any of the texture.  For the next try, I used a little less paint and printed on the same sheet of paper. I continued making prints of the leaf/petal shape on the same piece of paper in shades of purple.

The next print used the skinny pieces that I’d cut from the betel nut palm fiber.  I used all five pieces and printed them several times in various shades of green. I wasn’t as happy with the outcome, but I have an idea to cut up the print and incorporate those pieces into a collage combined with some drawn textures.

When I was creating the green print, I rested the cut pieces on a piece of watercolor paper, as I did when working on the shrimp print. The result was quite different from the print.

I think the shapes look like little pods, so I’m going to fill each space with some kind of drawing since right now it looks too empty to me.

Overall, it was a fun and satisfying project. Since I used my fingers to handle the paint-covered cut outs, my fingertips were covered with paint by the end of the process. I don’t love that, so before I try any more prints with this technique I’m going to see if I can find some surgical gloves to protect my skin from the potentially yucky stuff that’s in the paint.

I’ve been working with pens and markers a lot lately. I drew a blossom (below) that also looks like fluttery wings with a rapidograph pen and used various shades of pink markers to achieve a somewhat translucent effect.

I liked the result and took it a little further by creating another drawing of similar pink blossoms and a drawing of purple blossoms with a slightly different character.

When drawing the purple blossoms, I took notice of the smallest center petals. The overlapping lines of the larger petals created a nice texture that was cut through and contained in an interesting way by the central petals, so I created a version of the blossoms with pen only, leaving the petals white.

I made a few copies of the above image, and cut out the smallest center flowers. Then I arranged them on the scanner bed and tried a few different compositions and backgrounds and came up with the following versions.

In some ways I liked the flowers on a white background because it really put the focus on the texture of the lines, but I also wanted to define the edge of the petals.

Maintaining the same composition of the flowers I tried a gray and then a red background.

I liked the vibrant red background which did the best job at enhancing the effect of the texture of the black lines and the edge of the white petals at the same time. I tried two more compositions on red.

I’m happy with where this is going. I can see painting a canvas in vibrant red acrylic and collaging the flowers on it. I just might do that next.

Now that I’m in my new apartment in Portland, OR, I’ve had the itch to do something creative.  Watercolor seemed like a good medium to explore since my quarters are relatively compact, and I don’t need too much space to paint.

I really wanted to try out my new brushes and paper last night, so even though it was late before I could sit down and paint, I spent an hour on my first watercolor pattern.

Watercolor is one of the few art mediums I’ve never taken a formal class in, so I don’t really know all the “official” techniques.  Never the less, I had a lot of fun painting last night even if I didn’t do it “right”.  I love the feel of the paint brush on the paper, and I enjoy the color variations of watercolor.

I think it turned out reasonably well for my first unplanned attempt.  I’ve been thinking about trying gouache to achieve solid color coverage.  Depending on the pattern, I’d like to combine both traditional water color and gouache for textural contrast.

I’ve been experimenting with pixel patterns and more pixel patterns lately. After completing the last patterns that were traced from an original drawing, I started to think about the various ways that patterns can be created. I’ve been making repeat pattern designs for about a year and a half now. I’ve tried a few different end-results for the patterns including cut outs, the still in-progress wood burning project, and some notecards, but for the most part the process leading up there has been the same:

• draw designs, patterns, ideas in sketch book
• choose one idea and work with it by drawing several versions of the pattern
• if it’s good enough, import it in the computer and trace with illustrator
• then transfer design to make the final product

When I created my first pixel pattern it was a new experience for me that used a different set of steps. I didn’t have any final look in mind, I just opened a small Photoshop file and started making the pattern with little black squares. At the time it reminded me of making cut out paper snowflakes. I was working with only 1/4 of the final shape that would make up the pattern, and when I assembled it, the result was like unfolding the paper, revealing an unexpected and original shape every time. The process was also like sketching in the computer, consolidating the first few step listed above into one, and the end result is something very different than if I’d started out with an actual pen in hand.

Creating a successful pattern with a new technique is what inspired me to try yet another different technique when and idea for a new pattern popped into my head. I could “see” the new pattern in my mind’s eye. I wanted to make a pattern that would be composed of multicolored stripes with organic forms cut out of a solid white overlay. I could have easily taken the familiar route and started sketching some ideas out on graph paper, honing shapes and the composition until I was satisfied, then maybe use markers to try out a few color combinations before scanning a neat sketch and translating the design into a computer format.

The bug of inspiration had bitten, however, so instead I grabbed some scraps of colored paper that I still had from the note cards I made, some white paper and some scissors.

Inspired by the idea of the cut out snowflakes when I was working on the first pixel pattern, I decided to use a variation of the technique to make my “organic white cut out shapes”. I cut up the white paper into rough squares and cut simple shapes from the center corner. In my head I imagined creating beautiful complex many petaled flower shapes, so I was a little disappointed when most of the shapes looked very simple and few-petaled.

Honestly, I was so disappointed in my inability to create the shapes I could see in my head with this cut out method that I almost gave up a couple of times. It was easy and quick enough that I kept on going. I eventually made a few that were a little more interesting looking, and some that were too interesting and way off the mark for the result I was after.

In the end I had a sample of different cut outs that I was satisfied with, simple though they might be.

I arranged the strips of scrap paper together to create a composition of colored stripes, and arranged the cut out shapes over top the colored paper stripes. The finished project includes the white organic cut out shapes and the colored striped background of my original idea, though the final result is quite different from the specific pattern I’d envisioned.

I must admit though, that if I’d used my typical process that starts with the sketchbook, the result probably still would have been different from the initial vision. I find that often happens when I start a design from an idea; the design evolves as I work on it. By trying a new technique using only paper and no pens, the final result was certainly influenced by the nature of the chosen media. It evolved in a different way than it could have if I’d instead started with a pen and paper or paint and canvas or other process.

Despite the early frustration at the limitations I ran into with the cut paper shapes, it was fun to create a pattern in a new way. It’s a good start, and I think this technique is worthy of further exploration.