Using acrylic paints and a small piece of wood that is approximately 3"x 3.5", I painted my first ornament of the 2017 season. Inspired by the sun-moon theme, the composition introduces two culturally diverse figures. With contrasting colors, the figures interact in such a way that it is difficult to appreciate both of them at the same time. The ornaments that I will create, will have ribbon attached and be available for $10 plus the cost the shipping. No two will be alike.
Thanks to a wonderful video at https://www.youtube.com/watch?v=GIb16QnCz50\, I was able to find a small version of a foam puppet pattern that could be adapted for students. This pattern does not required sewing, but it does require lots of hot glue which can be dangerous. Using a single piece of foam, a single piece of felt, hot glue, and odds and ends from around my home, I created this.
Using Artist Loft metallic, acrylic paints, this fairy and lady slipper were painted as a gift for a special Art Teacher. The paints glitter and look lovely in person. Because they were thick, I dipped the tip of my fine brush into water and mixed the water into small dabs of paint several times to improve flow. Overall, I am impressed with the shimmer of the paint and feel it complements the fairy theme. Beth Ashton
Part of a lesson that I've been working on for fourth grade students is the development of a unique fairy, gnome, or elf composition that is colored using colored pencil. Before getting to this point, students examine proportions through the work of Leonardo da Vinci and a more modern proportion scale showing preteen proportions. They practice figure drawing using volunteers from the classroom as models. For my example, I created this. I first tried regular colored pencils and really struggled to add even coloring to the face. More expensive colored pencils were significantly easier to manage, but the face was overworked. I wish that I had begun coloring with the more expensive colored pencils. I haven't fully developed the rest of the fairy. Students are asked to show an element or object from nature that shows the scale of the fairy, gnome, or elf. This example shows indicates the small size of the fairy with the inclusion of an acorn. -Beth
In this illustration, screen printing ink was used to paint a fairy riding a goose onto a wooden panel. After lightly sanding and using pencil to sketch, the ink painted on easily with a brush. The ink flowed smoothly, and the transparent base worked well to create transparency in the fairy wings. For a simple illustration and more complicated ones too, ink on wood in terms of application, is simple and yields attractive results. In this piece, the panel seemed to indicate the drawing to me. The grain on the panel helped determine the composition. -Beth
To open instructions for creating a peacock feather like the one above and to create a feather brush in Adobe Illustrator, open the PDF by clicking HERE.
This last week, I took an intensive screen printing class and thoroughly enjoyed it. We experimeted with sticky contact paper and then worked with drawing fluid and filler. Although the contact paper is only good for shorter runs with less prints due to detachment of the sticky contact paper from the silk screen during the washing process, it has some great advantages. The use of an exacto knife results in crisp lines that can be difficult to replicate with drawing fluid. For the next process, I drew a sketch and traced it by first using a washable marker on the screen and then flipped the screen with the silk side up and painted drawing fluid with a fine brush onto or in the marker outlines. The screen had been taped around the edges with duct tape to protect the frame. Once that dried, I filled the screen with orange filler and waited for it to dry. After rinsing away the drawing fluid with cold water, only the filler was left, and I printed the resulting image. Working from that print, additional screens were created by drawing all objects of one color on each screen. On the yellow screen, I drew the beach and feet of my parrot, etc. Once all the screens had been filled and dried and the drawing fluid had been rinsed, I was ready to print. Drying was necessary between each layer but was relatively quick. A squeegee was used to pull ink down over the image at a 45 degree angle and then the ink was rinsed away in cold water. The key layer, or outline, was the last to be printed and really helped to pull the image together. To remove the filler, hot water, soda ash, a soft, plastic bristled scrub, and the jet setting on the hot water were used. My next print was created freehand onto the silk screen with drawing fluid without a drawing to trace. It was made in a similar manner but instead of creating five screens, I created two. For the color blocks, I taped off all but the desired color before each color run. I thoroughly enjoyed silk screening and will continue the process from home. -Beth Ashton