Composition Study

December 8, 2024

Something Big. Something Small.

Something Dark. Something Light.

I have heard art instructors condense everything about composition down to those four elements. If each work has those elements, good composition will be accomplished.

I think it’s pretty good guidance: a test to ask yourself as you are working through a composition.

But interesting compositions generally have more to them. I was looking at some recent paper collages in the studio this week and re-discovered this one: Deep Convergence. I think it has some good composition lessons.

When I look at this work, it’s pleasing to me. It looks balanced but not static. And it does have shapes that are big, shapes that are small, elements that are dark and elements that are light.

Here’s how it began:

I had created this image of limbs as a hand printed monotype on rice paper. I like the delicate intricacy of this image. It was not in a semi-circle before I started. I cut that shape to build the composition around it. And, I confess: I got the idea to do this by studying some works created by other artists whose work I like. I don’t use circular shapes a lot. I decided to try.

Now for contrast. (Light next to dark) I set the semi-circle with limbs against a darker rectangle of fabric. (It also has some interesting, but more subtle, linear elements in it.)

I wanted to carry through the element of the semi-circle. So, I cut another one but placed it upside down. Now the shapes are talking to each other. That conversation is enhanced by the screen-printed limbs black-on-olive, which connect the two semi-circles.

Now for a bit of energy.

I collaged into place a piece of fabric with hand-written text on it. I almost always like this effect. It’s neutral, but still has something going on. I stenciled the shape of the honeycomb on top of it. That provides a new small shape. And the color balances that olive green rectangle with the branches.

One more area of energy:

These strips cut from screen printed fabric have a nice lightness. The shapes are interesting. The rectangles themselves are smaller than the three big elements in the collage, and the imagery consists of more small shapes.

All the parts together:

One of the greatest things about working in collage is that you can experiment before you commit. Gather together some elements that you think may work, and move them all around your working space. Change your mind. Move them around some more. Re-order the layers back-to-front. Somewhere along the way something will say “stop!” You’ve got it.

Begin with some basic rules or guidelines (like the big-small-dark-light idea) and then experiment from that as a starting place.

And enjoy the process!

. . . .

If you’d like to learn more about Deep Convergence, it’s on my website HERE

. . . .

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

BLOG POSTS - once a week: Mostly about what I am creating in the studio. If you would enjoy receiving blog posts by e-mail, please subscribe here: I post and send by e-mail each Sunday evening. BLOGS-BY-EMAIL

NEWSLETTER – about once a month: Mostly news of exhibits and my way of introducing new work. You’ll get FIRST LOOKS at new artwork and members-only discounts. You’ll hear from me about once a month. NEWSLETTER

Look at your own art. And Learn

December 1, 2024

Last week I was writing about all the prep that goes into doing a street festival.

So tonight I’ll cut straight to the good news . . . I had a wonderful weekend. Good crowds, good art conversations, good sales, and I won a very nice award, an honor to be chosen from among 150+ artists in all mediums.

So. What now?

This is a recurring question to any artmaker who works toward specific goals, projects or events.

There are periods of high productivity, and periods of wondering – wavering – deciding – contemplating about the work you create.

Both phases are useful.

During the Festival, I spent a lot of time sitting in my artist chair across from my booth full of work, looking at it. I listened to the responses of attendees. I considered what I had made that I really like and am proud of. I considered the work that’s not so important to me.

Right now, I have only one firm deadline requiring new work: a juried exhibition with work due in July of 2025. Plenty of time.

At the Festival, I had the amazing affirmation of selling two large works that are in the category of work that’s meaningful to me to create.

I know that for the foreseeable future, I want to concentrate on doing those things. I will probably create less work. Each will probably be larger. I am not going to shy away from emotional storytelling content.

At any given time in your art life, you may look at your own work and come to other conclusions. I’ve experienced this one: “Everything I make is crap. I hate my work. I’m not even so crazy about myself right now.”

( I have had MANY experiences of being at an event and bombing completely. Being the brave little trooper keeping your chin up as you realize you’ve gone about it all wrong. It stinks.)

I get it.

And I’ve experienced frustrations with my methods, when I look at other work I deeply admire that’s made with different techniques. So I’ve experienced this one too: “Wow. I really need to do something different.”

I get it.

Just don’t be afraid to do the looking. Over and over when I talk to other artmakers, I sense people struggling with some sense that there is a kind of work they want to create, that they believe it’s possible, but what is coming out of their hands is not what they envision.

Yes. I get that.

Wherever you are in the process, a good first step is take a good look at what you make.

And don’t give up!

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

NEWSLETTER – about once a month: Mostly news of exhibits and my way of introducing new work. You’ll get FIRST LOOKS at new artwork and members-only discounts. You’ll hear from me about once a month. NEWSLETTER

How It Gets There

November 24, 2024

When I sit to write about artmaking each week, it helps me to sort through ideas about artmaking.

I’ve written about color, printmaking, the process, and sources of inspiration, and many other elements of creating work.

In all of that, it’s important not to overlook the obvious: At some point, if you are serious about what you make, you need to show it to somebody. And, if that process of showing involves a Festival, or a gallery showing, or shipping work to exhibit elsewhere, it involves a lot of STUFF.

STUFF: All that goes into showing work AFTER the actual art is made.

As I am preparing to exhibit at the Fall Festival of the Arts this weekend, a few takeaways:

STUFF involves finishing. Here’s work on my table I’ve prepared to show at this weekend’s Festival. This week I spent time finishing the hanging rods, (in which I get to have fun hand-sawing and using the Dremel drill), mocking up a booth layout that matches up the width of available walls with the dimensions of the work I want to show, sewing labels on the back of each work, making title/price tags for the booth, then rolling up all the work and getting it in the car.

STUFF involves a lot of non-art supplies.

Here’s some of the stuff I still need to get in my car:

Here’s the back of my car with what’s already packed:

I am very grateful that years ago I purchased a second-hand tent that is still working well and that I also purchased a set of second-hand display walls that I’ve now used for about 15 years. They were both great investments.

STUFF involves early rising! At this Festival, artists can’t set up the night before. So, much like the elephants setting up the tents in the early morning hours before the circus, artists will be out on the streets of DeLand at 6am unpacking their cars and vans and creating a Festival of art-filled tents out of an empty street.

There is a HUGE army of dedicated volunteers behind every good street festival. I am grateful for all their work to get things ready and to help it run smoothly.

BUT – as every exhibiting artist knows, and as we hope Festival-going patrons know also, artists work hard!

I have no complaints nor whining – I choose to do this and I enjoy the hard work. But, a casual Festival attender may well not understand the process. I’ve had well-meaning Festival attendees ask me if the City or the Festival provided all these tents for us, or how much they pay us to be in the event. (Answer: No. Artists provide their own display materials. And each of us has paid at least several hundred dollars in exhibit fees, plus travel expenses for those far away.)

So . . . here I go. I am writing this post on Friday before the event begins, and by the time it goes LIVE on Sunday evening the event will be over. I’m sure I’ll be pooped.

But also glad to be a working artist and glad to be able to do this!

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Theme and Variations: Blue

November 17, 2024

This will be an “in-between” week in the studio.

This past weekend, I completed the online exhibit with Artburst Studios. (Many thanks to the patrons who took home my artwork from that event.)

This coming weekend I will be exhibiting in-person in downtown DeLand (my hometown) at the Fall Festival of the Arts DeLand.

My car is packed. The work is ready except for finishing touches.

So this seems like a good week to take a look at a recently-created work.

This is “Knowing What Is”

“Knowing What Is” Art Quilt (37”H x 26”W)

I was pleased with the outcome of this piece, and I think it offers some interesting things to discover and learn.

WHOLE CLOTH CONSTRUCTION

Generally, I work in the method of most quilters: I create small sections and then sew them together. On this work, I wanted to experiment with creating the look of a quilt created in sections without actually doing that. So, I started with a piece of muslin the final size and sectioned it off with masking tape as I created each section. I found that it made me very aware of composition as I progressed.

COLOR AND ITS SURROUNDING

One of the challenges I gave myself in creating this work was to explore ways to work with a single color and still achieve variety. In the section above, the background color of the top (grassy-shapes) section and the circles section below is the same color. They look different because of the color that is next to them.

POSITIVE AND NEGATIVE

I used the same grass forms on my printing plate as stencils, but reversed the colors. In the top section above, I started with the darker blue on my fabric then printed the lighter over top as a monotype. In the bottom section, I painted the lighter color as the background then printed the darker over top as a monotype. Same image. Different applications of color.

The stripe in the middle is one more variation. The teal background is the same as the teal in the sections above and below. The shape of branches is screen printed on top, using the same teal color with a lot of white mixed in.

HELLO BIRD

The crow was the final addition to the work. I screen printed the branches. Then I painted the bird directly on the almost-finished quilt with semi-transparent paints. I frequently use birds in my work. Sometimes, I cut them out of painted fabric and collage them as raw-edge applique pieces. This allows me to move them around the work to find just the right spot. It is less prone to mishap.

In this case, I knew where I wanted the bird to be, and I wanted it to allow some of the background to show through.

Finally, when I step back and look at the finished work, I see how important color is to a work. I love color and I love mixing colors. Varying the patterns, values, and the side-by-side neighbors of a color can create a work with both harmony and variety.

. . .

If you would like to learn more about this art quilt, it is on my website HERE

. . . . .

This is my last opportunity to invite you to DeLand’s downtown Art Festival. If you are near Central Florida, I hope you will drop by. (I’m right at the center of the Festival layout, booth 133.) It’s a wonderful Festival in a delightful downtown.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Thoughts from the Interior

November 10, 2024

Hello, Art Friends

In a week of profund disappointment in the decision made by the majority of voters in America, I can only offer this:

This is not, for me, a time for light-hearted revelry. But it is a time to continue on. I am pleased to create work that invites introspection and the expression of a whole host of emotions and thoughts. (This is “Interior Revelations.”)

What I’m trying:

As soon as I can, as much as I can, I am going on with the things in my life I consider important.

Look for ways to make a difference.

Wait for what opportunities to present themselves.

Find peace. But not complacency.

……………

I offer you upcoming opportunities to experience art with me:

WEDNESDAY, NOVEMBER 13, 2024 – IN OCALA, FLORIDA
EXHIBIT OPENING – THREADING THE NEEDLE

Webber Gallery – College of Florida
3001 SW College Road – Webber Center Gallery – Ocala, FL 34474

This is an exhibit of 30 art quilts. Bobbi was the juror and will be awarding the prizes. Bobbi will be giving a gallery talk at 12:00 noon. Arrive before that to browse the show then attend the talk.

THURS NOV -14 THROUGH – SATURDAY NOV 16
ONLINE EXHIBIT: 3-DAY SHOW
Bobbi plus 18 other artists are showing their work in “Fancy That,” a pop-up exhibit by Artburst Studios. It’s free to click in and browse. There’s lots of interesting art to see. Find it here:

https://artburststudios.com/

The show is in “countdown mode” now. You can go to the site any time to see more about it.

SAT AND SUN NOV 23 – 24: DOWNTOWN DELAND
FALL FESTIVAL OF THE ARTS DELAND

This is a great art festival. Approx 165 artists. In the heart of downtown.

Bobbi is exhibiting: booth 133 (right outside the Museum Store at corner NY-Woodland: then 1 booth North) See ya then!

More information: https://fallfestivaloftheartsdeland.com/

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

Harmony and Differences

November 3, 2024

This week I feel the need just to look at some pictures.

Something pleasing and soothing.

Not so many words.

Here is what’s in-progress on my easel now.

Because it’s a work-in-progress, there are still elements of the story not yet completed.

I know the whole will comprise elements that are different from one another, but that can work together. If it is interesting and worth looking at, it will be because of the interactions of the parts that are different.

These are thoughts I want to hold onto tonight.

After months of many many many many words, on Tuesday the United States will vote for our next President and myriad other representatives. That day, John and I will be working for our local supervisor of elections and will be checking in and assisting voters in the process from 6am till after 8pm.

I hope to come home after that day’s work, listen to news and find reason for celebration – that we are NOT going back!

Best wishes to you all. — Bobbi

After the Fire

October 27, 2024

Some losses are just unimaginable. Natural disasters create windows for those of us not affected to see into the experience. People being interviewed next to a slab that was their home. Or their town.

People discovering some small remnant – a household item – as all that’s remaining.

I was thinking about these “after” moments when I created a work for an upcoming SAQA Global Exhibition, “Primal Forces: FIRE.” Artists were asked to respond to the concept of fire in some way.

I chose to give voice to the sense of loss after a fire has unleashed its fury. My work, “Nothing Remains but the Loss,” was accepted and will travel as part of this exhibit for two years. Here’s the completed work.

Nothing Remains But the Loss Art Quilt 40.5” x 48”

Here is the text I submitted as part of my application:

“In the burned house I am eating breakfast. You understand there is no house, there is no breakfast, yet here I am . . . everything in this house has long been over, kettle and mirror, spoon and bowl . . . ” After the fire, the structure is a memory. The artifacts of daily life within the structure are a memory. The raging violence of the fire itself is a memory. Nothing remains but the loss. (Quoted text from “Morning in the Burned House,” Margaret Atwood.)

Backing up from the completed work to the process of creating, I have to admit that this one did not come easily at all.

I had a very strong concept of the way I wanted it to feel, how I wanted the power of fire and the emptiness afterward to co-exist on the surface. The haunting poem by Margaret Atwood was a strong part of my inspiration; it is a poem I know well and I thought of it immediately when I read the call to entry.

In the early stages, I was very involved in creating the parts.

I created fire.

I created dark areas representing the charred home. And I created the kitchen bowls.

(If you are interested in reading more about the early stages of creating the dark brown and black sections, I posted about that on my blog in February. You could read it here.)

The house was not part of my original concept, although now I see that it is the essential heart of the story. I had thought that the charred bottom section would approximate the remains of a home. But once I had it all put together, without a more concrete depiction of a home it had no emotional appeal at all. Just contrasting sections. As soon as I added the house, everything came together.

In addition to wrestling with the devastating emotions surrounding loss of home, adding the image of the house was technically tricky. It is all created by paint, rolled on in various values after the main quilt was already constructed. It had to be a lighter value in the top half to show up against the flames; it had to be darker in the bottom half to show up against the charred sections. It was a scary, make-or-break stage of the work.

I am grateful for the chance to show this one to audiences as part of SAQA’s traveling exhibit. I hope it will stir in viewers thoughts of the power of fire, the temporary nature of all we have, and the place in our hearts of “home.”

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Talking about art

October 20, 2024

How nice to have a chance to talk about art!

If you follow this blog, you know that I WRITE faithfully about artmaking every week. I don’t get nearly as many opportunities to TALK about artmaking. When the opportunity does arrive, it’s always meaningful.

Yesterday I recorded an artist interview with Artburst Studios. The link is at the end of this post, and I invite you to take 20 minutes to listen if you can.

We talked about all kinds of stuff! Colors and palettes. How I go about building up layers. The power of stitch as a design element. We even flipped a work over to show the hanging pocket on the back and talked about how important that is. It was fun!

(Note: This was my make-up interview, because the one I was scheduled for and promoted for ten days ago was postponed when Hurricane Milton ate our internet for a few days. I’m first in line, then two additional artists are interviewed – Jeweler Kim Harrell and Painter Gregory Gorham - also well worth a listen.)

Whether or not you are able to listen to the interview, I’d like to share just a few takeaways about art talking.

Talking about your artwork is good for artists! Putting thoughts into words helps you clarify your ideas. Putting your process into words explains things that might be obvious to you but are mysterious to art lovers. Patrons and collectors really enjoy learning more!

Listening to talks about art is good for art lovers! Attend art talks whenever you can. Ask questions of artists you meet at Festivals and openings. Don’t be afraid of asking dumb questions. Artists understand that the meaning and understanding of work improves with knowledge. Almost all artists are gracious and happy to explain things.

Practice helps! If you are an artmaker and have not had much opportunity to talk about your art, it can be intimidating. Just like any other speaking. The best preparation is practice. Writing about your own art is helpful. And if you can’t find an audience for your talking, practice talking to yourself. Really. It’s a great way to occupy your mind while taking a walk or while working in the studio. Don’t just think the words inside your head. Actually form the words and say them out loud. In time you will like what you say more and more.

During the interview, I showed two works I’ve created for the Artburst Show. Holding up a piece of art to the camera in a zoom call is not the very best way to view artwork. So, I’ll preview them here in an easier-to-see-the-details environment.

*The Dance of Change* Acrylics on Fabric 34”H x 18”W

*Moonlit Dream Excursion* Acrylics on Fabric 25”H x 13”W

Finally: many thanks to Jennifer Steck from Artburst for scheduling this re-do for me and for being such a thoughtful and engaged interviewer.

OK. Got your popcorn popped? Enjoy the interview. View it here:

https://vimeo.com/1019045542?share=copy

. . . . . . . .

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Contrasts and Connections

October 13, 2024

What a week of contrasts this has been!

As I enjoyed welcoming the morning from my porch today — air cool and clean, sun breaking through trees, birds alive and active — it is actually hard to imagine that only four days ago we were in hurricane countdown mode. And that then it hit, with rough wind and rain all through the night.

And then it moved on.

Many areas in Florida are still dealing with significant damage and loss. I am grateful that here in our neighborhood everyone fared well and stayed safe, without loss of power or much more than fallen limbs to chop up and cart to the street.

Being able to get in the studio felt calming and therapeutic.

And nothing says art therapy to me quite like working on paper collaged works.

Every stage of these works is pleasing to me. I enjoy going through my bins of scraps (which I set aside just for this purpose) to find small pieces that speak to me, and then to find others that might connect with that one. I love the warm watercolor wash of burnt sienna across the sheer fabric screen print of black limbs on yellow. I began with that.

Frequently throughout the composing, I will put on the cut mat that will eventually be used for displaying the work. It helps to see what’s going on and to be sure nothing is closer to the edge than I want.

I found a mix of materials to work with for this one. The sheer fabric piece, a piece of monotype-printed tissue paper (the large green leafy section) and a big solid triangle shape printed on upcycled brown kraft wrapping paper.

When you are beginning a project intuitively, I think it’s best just to look at what you have and respond. Are the parts speaking to each other? I think these are.

Then, if I step back to analyze with some art principles, I will probably discover the reasons why. The colors are connected: all appear organic, a color that could occur in nature. And, because I mix all my colors from a limited range of basics, I know they actually contain the same base hues.

There is also interesting contrast. Ripped-shapes. Straight edges. Fabric. Thin paper. Thick paper. It’s not so much alike that there’s no energy.

About ripping paper:

When you print with paint on thin papers (like rice paper or tissue paper) the difference in surface tension between the unprinted part and the printed part creates an “edge” where ripping happens well. In this picture, In my left hand is what I am ripping off. I use the thumb of my right hand to guide the ripping along the printed shapes. This process can create organic edges that are much more interesting than cut edges.

With fabrics, it’s harder to rip in shapes. But, when a ripped straight line will work, it will also have a little different character than a cut straight line and it can be more interesting.

Here’s what I’ve got so far by the end of the weekend:

What’s glued down: the top part of the green, the fabric screen printed piece top right and the brown triangle.

What’s TBD: The bottom of the green and the smaller fabric scrap in burnt sienna are just laid on top for now. Maybe they will stay. Or be moved. Or added to.

I’ll enjoy seeing how it evolves.

. . . .

To Florida friends in the path of Milton: I send wishes for safety and peace as you tackle whatever cleanup and restoration you’ll be going through.

. . . .

Upcoming exhibiting for me in November:

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Discovering What is There

October 6, 2024

My studio work this week has involved discoveries in the surface of a quilt-in-progress.

(This is the continuation of the work I wrote about last week, adding an architectural element and an old truck to a large surface filled with patterns of water and rust.)

Here’s the work as it’s on my easel now: almost done. (It’s about 38”H x 55”W)

I think some interesting things have happened.

First, most obviously, is that the quilt is now more clearly “about “ something. Before, it alluded to the elements of water and metal creating rust. But the process wasn’t applied to anything big to see in the picture plane. I did not have a visual anchor. Now it’s about specific things rusting: the barn and the truck.

Second, there are more layers to discover. I did not want the barn and truck to just be plopped on top of what I’d already done. I wanted to integrate them into the layers. As I worked, it was almost like the experience of a natural force (like rusting) being applied to an image. I was trying to push these new elements in the background.

The roof line of the barn intersects elements around it.

The truck is both in front of and behind other elements around it.

To be there. But not completely there.

Waiting to be discovered.

Finally, a surprise that pleases me. There is now more movement through the work. Movement is important in a viewer’s experience of a work, and sometimes difficult to control. You want there to be a way or a place to enter the work. And want some flow of movement once the eye is in the picture plane.

I’ve created several possible entry points.

Maybe the first place you look is the barn. If so, then there are elements to guide you up and around n a counterclockwise circle: the blue gear is in movement. It connects to the larger gear above it, which draws your eye up to the top right where the other gears are in motion, leading you down finally to the lower right and the intense blue water.

Maybe the first place you look is the truck. Following the direction of the hood, it’s almost pointing like an arrow down to the lower right and the water, then up through the gears sections and around in a clockwise motion to the barn, then back to the truck.

I was thinking this week about art that is powerful. I realized that, in my own appreciation of other artists’ work, a simple test is if I can remember the work later. If I’ve discovered enough in it that I can remember what spoke to me.

I am hoping that this re-working takes images that I liked and has re-connected them in ways that do that more.

. . . . . . . .

Do you enjoy listening to artists talk about their work? You might enjoy listening to my upcoming artist interview with Artburst Studios. (It’s a it of PR for the online Artburst show I’ll be part of in November.)

**THURSDAY OCTOBER 8 6pm (MT) = 8pm(ET)**

You can register at this link and Artburst will send you an email reminder and a zoom link the day before.

https://artburststudios.com/artburst-live/

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading.
I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

Reimagining a concept

September 29, 2024

To the artmakers: When you’ve finished a work, do you ever just have a nagging feeling that something is not right?

Something is bugging you. It didn’t quite accomplish what you had hoped.

I’ve had that feeling about a work I created about three years ago that had elements in it I just loved.

I enjoyed exploring the theme of water and rust. I made all kinds of varied fabrics for this work. I loved how they spoke to each other. And I submitted it to a SAQA global exhibit “Opposites Attract.” It was accepted and the work travelled, exhibiting for over two years. But, whenever I saw pictures of it on display, that nagging sense that I hadn’t gotten it right would bother me.

The composition wasn’t strong. And I didn’t like the construction and binding.

So. Now the work is back from its exhibiting travels. And I have cut it up to recreate it, to reimagine this concept.

Here’s a look at the section I’ll be reimagining.

I love that photo transfer of the rusted metal siding with the window in it. (And I remember discovering that by the side of the road and photographing it.) It got lost in the composition.

My goal is to re-create this as a focal point.

I got some advice along the way. I took the work in its old version to my art group last week and they encouraged me to cut it up. (Tactfully, my friends were telling me it could be better.) Then I hung up the parts in the studio and looked at it critically with John, my best critiquer.

My decision was to add a large image of actual things that are rusting, and somehow blend them into the existing surface, adding a new layer. Quite a challenge!

Here’s the image I decided to use. This is from my sketchbook, a drawing about 8” x 10” depicting a rusting barn and an old truck.

Now for some nuts n bolts: how to get this little sketch onto the quilt surface.

I needed to enlarge it to the final size to go on the quilt, about 400% of my sketch size. I marked out an enlarging grid and drew it freehand the new size.

To get the image on the quilt in the right place, I traced my enlargement onto vinyl, pretty roughly. Now I have something I can hold up to the quilt, move around and even rotate to find the best place for the added images to go.

I decided I wanted to add the new image to the existing quilt as a painted stencil. I’ll be stenciling a linear outline, which in some places will be enough, and in some places will act as a guide for where I need to add new fabric or more painting to flesh out the barn and truck.

The paper I used for my enlarged drawing is freezer paper, which will be my stenciling material. (You can draw on the un-shiney side like any paper. ) Then I cut it out.

(I used the see-through vinyl to figure out where to place the image. The drawing on freezer paper was then placed in that spot and ironed down on the quilt. The back side, the shiny side, sticks to the quilt during the painting process. I still can’t believe this works. It’s magic. Then you just peel it off.)

A lot more has to happen with this project: Refining the painted/appliqued image of the new elements, add stitching all around the new elements. Then whatever else I discover isn’t working right – tackle that too.

I have a sense that I’m doing the right thing to this artwork. It needed some re-imagining.

I’ll share more as the project progresses.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

A “Yes” and some “Maybes”

September 22, 2024

The pleasure of a project beginning: “Yes!”

This is my studio, mostly picked up form the last batch of work, and one small fabric piece glued up in place on my worktable.

This will be a 14” x 14” work, depicting a small boat on water, which I am completing for a commission. Nothing too big or complicated.

But here it is a thing of beauty: Collaged fabrics drying, nice and smooth with no wrinkles. Aaahhh! Yes!

The substrate is white kraft felt, taped down to the board. On top of that I am collaging a piece of sheer white polyester that I monotype printed with subtle blue water patterns.

(I collaged with matte medium. Slathered onto the substrate. Then I laid down the printed sheer polyester into the medium and worked it out flat with a wide paintbrush.)

I did not add a lot of texture or patterning to the fabric as I monoprinted it; mostly, I let the natural imperfections of my homemade plate (which I have now used for a number of months) create what I consider interesting patterns.

This is a “yes” for me. Because it represents the beginning of a new project. Everything is still possible. And so far the technical aspects are working as they should (good collage – no wrinkles.)

Then today I spent the morning with my local artmaking group. Part of my time was spent ripping apart a quilt I’d completed some time back and now want to reconstruct, and part of the time was spent sorting through my pile of recently printed fabrics. As I’ve been working on other projects, I’ve kept my eyes open for some interesting blues and greens that I can use in an upcoming work.

I had not been thinking about these pieces as I put them in the plastic tub. Today I was pleased to see that I’ve created a pretty nice stash, good “maybes” for future work.

For now they also represent possibilities.. and the hope that as a group they may in the future represent a “yes!”

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

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Art-Thinking Inspiration

September 15, 2024

Two art-thinking experiences this past week have stirred up my creativity.

First, I rediscovered a book on my shelf I had forgotten I had. A delightful serendipity. I went to the bookshelf for the dictionary, looked down, saw the watercolor book and pulled it out. What wonderful hours this provided! I spent hours on the porch, feet up in my favorite reading place, remembering how much I love watercolor and how much it has to teach every other medium.

Powerful watercolors rely on freshness and contrast. The artists in this book share a lot of their specific how-to methods of achieving this.

I am still working through how these lessons can inform my own work in textiles.

Takeaway: It is always time well spent to look at and be inspired by great art, whatever the medium.

The second art-thinking experience was presenting a talk to a local art group, primarily painters.

Takeaway: It helps to talk about your work.

Just as people who teach will describe learning a subject best by having to teach it, I realize that I understand my own work best when I take time to condense my thoughts and describe them to somebody else.

(So… THANK YOU those who read my blog. You give me this chance every week!)

To introduce my work, I prepared this PowerPoint slide:

We spent some time on this idea—which should be obvious. But it was not obvious to me when I began artmaking. I recalled (and shared) my early attempts as a student watercolor artist when I thought my task was just to depict what I saw. I hadn’t given any thought to the “about” part: what interested me in a certain subject matter? What emotions did I hope to evoke? What memories might be stirred?

I like this image from Becoming One With the Night because I thought I did some things right. I did have a model sitting on my porch to use as a starting place and this is a representational work. But I did not just depict what I saw. I used it as a starting place to create an emotional experience.

The works from the watercolor book that blew me away this week – even those that address very traditional subject matter:landscapes, lighthouses, still life – all clearly also communicated an “about.”

I developed the presentation more with this:

This is a detail from Seeing Through to the Light. It is a work that combines a detailed photo with abstract color blocks. I definitely intended it to communicate an idea.

But, the technical “how-to” is a strong part of the work too. The creation of my own surface design. A controlled palette. The creation of layers.

Recalling the images in my watercolor book, I am amazed at how many are nearly monochromatic in their palette choices. And many of the artists had mastered using the transparent paints to create depth and layers.

I’m inspired by my art thinking this week. The idea wheels are turning towards how I might use these thoughts in my work next.

If you’d like to read more about the two quilts I’ve referenced in this post, you can find them on my website Here:

Becoming One With the Night

Seeing Through to the Light

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

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Kicking Leaves

September 8, 2024

Being able to see the whole arc of a creation… from concept to completion.

Sometimes it’s just a nice experience.

Back in March I was in the beginning stages of a memory piece built around the images of swirling leaves and a home.

I wrote about some of the technical aspects of creating the leaves at that time.

A few months later, I completed the work: “House of Leaves.” But I had not shown it anywhere yet because I was not sure whether or not I would enter it not an exhibit.

Friday I was guest speaker at a local arts group in DeLand. I was able to talk about creating fiber art to a group who are primarily painters. I brough “House of Leaves” and used it as an example of some of my artmaking methods and principles.

Then, when I got home, I received an email acceptance from the Schweinfurth Art Center that this work was accepted into Q=A=Q, what I consider one of the finest national art quilt exhibits. They chose 70 works to exhibit from work entered by 278 artists.

Woo Hoo!

I am thrilled, and happy now to share the work.

House of Leaves. Art Quilt. 59.5”H x 74”W

This is the statement I wrote to go with the work:

During middle school I walked home in autumn through leaf-filled sidewalks. It is a complex memory – written on yards of muslin incorporated into the quilt surface. A girl’s longing for freedom and a touch of rebellion was part of it. Swirling emotions -- the pressure of events threatening our home -- were also part. Depicting a home in pieces, askew, overwhelmed by leaves, as if it could be buried by them, gives voice to memory of that time and place.

And here is a look at each panel alone, to show more detail.

I am proud of this work. It went through a lot of difficult stages and the way out was not always clear.

But I got it done. On this one, the process is a pleasure.

Q=A=Q will exhibit at the Schweinfurth Art Center
Albany, New York
Nov 2, 2024 – January 5, 2024

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading.
I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

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The Pull of Water

September 1, 2024

I began this weekend Friday evening with a swim in the springs.

Late afternoon – after a thunderstorm had chased away most of the park residents, then cleared – just a beautiful empty pool before me. The late day sun and shadows in the water before me.

I remembered the way water and Labor Day went together in my childhood. I lived in a community with a neighborhood pool. It was filled on Memorial Day. (All the local kids rode their bikes to stand with noses through the chain link fence, watching the water rise in the pool.) It was emptied the day after Labor Day. The gate was locked, the water receded.

That was always a day of loss for me. I loved going to the pool to jump in the water all summer.

As the water level went down, the big empty concrete pool was like a big blue scar.

I am drawn to water. It finds its way into my works.

Being in the water is transformative.

In the water, my body can do things it cannot do on land. In the water I have to think about breathing in ways I do not have to on land.

Even being near a body of water casts a spell.

*Discerning What Is Real* – Art Quilt _Detail

Still water is never completely still. Something small and alive bounces across the surface, or moves in shadow under the surface. I like to sit and look wondering what is underneath.

Running water casts a different spell. Its movements are healing. The surface patterns. The sounds. The flow of energy.

*Revealing the Invisible* – Art Quilt - Detail

I am reminded that incorporating water into an artwork can capture the meaning people attach to water.

I am reminded that I should handle its depiction with care. I want to get it right.

I have several works in my studio now that depict water. And several more in my head.

Work in Progress – Boat Reflections (Detail)

Work in Progress – Tree Reflections (Detail)

Work in Progress – Water Patterns (Detail)

I hope the sense of immersion – the strong pull of water I feel when I swim - will find its way into these works.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

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Bearing Witness

August 25, 2024

“Do Not Look Away.”

That may seem like a strange title for an artwork. Of course an artist wants people to look at the work created.

But this work, part of the SAQA Global exhibit “Bearing Witness,” is different. It addresses very difficult subject matter – things that are easier not to contemplate.

Creating my artwork was a difficult emotional and intellectual stretch for me. I am deeply proud to be part of the exhibit, and very proud of SAQA for creating this body of work for visitors to experience.

A few exhibit details first:

Premiere: August 28th through December 13, 2024.
Raritan Valley Community College, Institute for Holocaust and Genocide Studies,
Branchburg, New Jersey
Reception: Monday, September 16 at 7pm

Next Venue:
Mills Station Arts & Culture Center in Rancho Cordova, California
January 16th through February 22, 2025.

My personal experience creating my artwork:

With an exhibit dedicated to response to the Holocaust and other acts of human atrocities, I did not feel like I could jump in lightly, or in a crass way. I wanted to feel connected to the subject matter.

My own family history does not intersect with the Holocaust. What right did I have to create artwork about it?

The answer came through a journey of self-education I have experienced over several years as I am trying to become a better student of history.

Here in the American South, in areas near me and in my own hometown, in the eras of Reconstruction and Jim Crow there is documented history of racial lynching. The practice was so widespread and embraced by many in the South that they promoted it with tourist postcards.

An organization in DeLand – Volusia Remembers – is affiliated with the Equal Justice Initiative from Montgomery, AL. I have learned a lot from their thoughtful remembrances of the victims of documented lynchings in this part of Florida.

Then, as I have been educating myself by learning from banned books, I discovered the very powerful book by Art Spiegelman: Maus. In this graphic novel – in which the characters are depicted as mice - the author interviews his father, a holocaust survivor, about the years leading up to Nazi takeover and the implementation of their final solution.

In that book, I saw an unforgettable image of a lynching in Nazi Germany.

The author’s father explained that the act took place in the public square where it could not be ignored. They could not look away. Instilling terror was as much a purpose of the lynching as the individual murder.

That was the connection. What I have learned about public acts of brutality in my own country – as well as those in other countries – makes it clear that instilling fear and terror is the universal element of brutal public killings by those in authority. The rest of the populace was supposed to see it and remember it.

So, I chose to depict the people looking at the event.

They were instructed not to look away.

I believe that we also learn when we are willing not to look away.

Thanks for listening. Here is my artwork in the “Bearing Witness” exhibit.

One last thought: I created a PowerPoint about this work, the exhibit, Volusia Remembers and the Equal Justice Initiative. I have been privileged to present it twice here in DeLand. If you have an art group, or a learning group of any kind and would like to hear more, if you have the ability to invite speakers via zoom, I would be happy to present and discuss.

bobbibaughart@gmail.com

Sienna discoveries

August 18, 2024

What an interesting week of pattern and color discoveries!

I began a medium sized whole cloth textile painting by prepping the whole background with a wash of raw sienna. It is warm and inviting.

A little digression into sienna - brown paint facts: (From our friends at Wikipedia) Sienna is an earth pigment containing iron oxide and manganese oxide. In its natural state, it is yellowish brown, and it is called raw sienna. When heated, it becomes a reddish brown, and it is called burnt sienna. It takes its name from the city-state of Siena, where it was produced during the Renaissance.

My personal discoveries of both raw sienna and burnt sienna are: 1. They are powerful and wonderful mixing ingredients to get subtle colors and neutrals when mixed with primaries. Either one does lovely things to red, or blue, or yellow. 2. There is really quite a variation in hue from one manufacturer to the next. One company’s raw sienna may be quite different from another company’s raw sienna. Just a warning about mixing up your paint brands.

Meanwhile, back to the studio.

My project is a whole cloth work, about 30” x 36”. I will be printing and painting different shapes and colors over the raw sienna base to see how the parts interact with each other.

In this composition, the constants will be: 1. A raw sienna base for each section. 2. Overprinting with contrasting colors, each mixed with a tad of raw or burnt sienna in the color, 3. Mostly organic, earthy images.

The variables will be: 1. What colors I pick, 2. The method of printing

My working method will be masking off each section, printing or painting it, then going on to the next section. After it’s all printed this will be stitched with all-over quilting.

MONOTYPE and RESIST:

The section that looks like roots was printed as a monotype on my gelatin plate with random organic shapes put on the plate to create roots. After I printed this, I put a subtle wash of cerulean blue over the roots. I wanted to neutralize the sienna so it would not be so orange. That’s just my personal preference: when an orangey tone goes next to black, to me, it always connotes Halloween. I did not want that. The circles were printed as wheat past resists, overpainted with a teal blue.

Interesting color things that happen: The raw sienna in each section look quite different from each other because of my blue wash on the roots and because the circles “pop” against the complimentary color of the over print. Also, the overprint looks green, not teal, because the raw sienna underneath it is changing its appearance.

SCREEN PRINTING

The red tree section was screen printed. I allowed two hues of red to mix on my screen so the trees have a little more interest. Then, after that was dry, I used a foam roller to put a very, very, very faint kiss of red over the raw sienna background.

STENCILS AND DIRECT PAINTING

I created these pods with hand-cut stencils. I put a wash of alizarin red over the raw sienna background to define the shape of the pods then stenciled on the details with a dark black-brown. I also did some hand drawing of pod details with a black marker. There was not as much contrast as I had hoped, but I am happy with the way each pod is defined by the stitching. I may go back after it’s all stitched and highlight the pod interiors a bit.

To the side of the pods is a second screen-printed area. I used the same screens but a different color form the first tree section.

STENCILED ABSTRACT SHAPES

I drew these big circle shapes by hand and cut them out of freezer paper. The background is painted with the same teal used on the small wheat paste circle sections. This geometric, non-representational section offers an important contrast to the other sections: big shapes. Simple content. (Photo show sunfinished stitchiong.)

Here’s the work as it stands at the end of this week:

This project began as a loose drawing in my sketchbook. I thought I knew where it would go. It’s been providing me with a lot of interesting opportunities to see how an idea takes shape when I actually create the parts. Some things are what I planned, and others are just how it evolved as I worked.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

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Studio Buried Treasure

August 11, 2024

Sometimes I can plan results.

Sometimes things just happen.

Sometimes there are delightful discoveries along the way. They may or may not end up directly in a new artwork.

Here are two images from my studio this week. I love the soft, ethereal color blending of the first, and I love the crisp contrasts of the second.

I did not create either of these images. They are just random things that occurred in the process of studio work, bits of paint on my working supplies in the process of cleanup:

The soft image is on the roller of my brayer. The crisp image is on a vinyl drop cloth from my worktable.

What can you do with images like this?

There are several options.

OPTION 1 – DO nothing. But do take the time to notice the discovery and enjoy it. Take a deep breath. Enjoy the randomness and spontaneity. Sometimes you can’t capture things in any tangible way. But, taking time to notice, to look at what shows up unexpectedly, is all part of increasing your artistic sensitivity. And it’s fun.

OPTION 2 – Capture digitally. Now that there are so many ways to reproduce digital photo images on fabric, one can capture anything, save it and manipulate it a bit for size and intensity in PhotoShop or similar programs. What began as an interesting splotch on a drop cloth might be reproduced as a large abstract work, or it could serve as the underneath layer of a large work with more added to it.

OPTION 3 – Try to capture it manually. This large drop cloth has all kinds of fascinating patterns and colors on it. I have, in the past, successfully transferred them to fabric using matte medium in much the same method I use for transferring photos.

I gave it a try.

This is a piece of blank white fabric that’s been slathered with matte medium, placed face down on the drop cloth and rubbed with both brayer and paintbrush to get a good contact with the paint that was on the drop cloth. I left it overnight to dry, then pulled the fabric off.

Eeehhh . . not so much this time around. The high-contrast black and white is an interesting little section that I could incorporate into a work. But all the really inspiring, nuanced orange and brown values and textures did not transfer to the white fabric.

Sometimes it works. Sometimes it doesn’t.

But… you never know. Next time I invest a little time and effort into capturing an unusual and unplanned image, I might get an unexpected and wonderful surprise.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

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Bobbi’s Blog 8-4-24… Underwater Evolution

August 4, 2024

This week’s blog is an answer to last week’s question… What will happen to the big green rectangle and the rest of the quilt?

This is where things stood last week in a work-in-progress in my studio. I liked where the quilt was headed, but many decisions remained.

Here is PhotoShop mockup I created to help me get to the next stage.

From here, the underwater portion evolved.

This is just a quick cell phone snapshot showing what I had actually printed and painted at that point: I had added limbs to the big lime rectangle, I had added an inner white border and relief printed the outer edge.

The sketchy pencil images shown in this mockup (the orange sun, the suggestions of fish in the lower section) were not actually in the piece yet. I drew them roughly in PhotoShop and the mockup allowed me to see how it might look.

This week: time for fish.

I cut out some stencils from freezer paper, holding on to both the positive and negative pieces.

Here I’m moving around the fish positives like paper dolls. (An easy way to try out different positions and angles). When I got what I liked I lightly held them in place with masking tape.

Then I placed the outline (the negative image) of the fish over the paper doll fish and removed the positive pieces. I ironed down the freezer paper to make a clean edge and rolled on translucent paint.

If you are interested in using paint on fabric in your artwork, I can’t recommend enough the many uses of a simple foam roller. Using it just takes some practice. You can work dry or wet, cover big areas or – as in this case – keep it very controlled and light-light-light application of paint to maintain transparency.

Now to rip off the stencil and reveal the fish. Ta-daaa!

(Tip: It can be helpful to get rid of this outline soon after rolling while your image is still slightly wet. That way you can use a small paintbrush on the edges to fix any little areas that did not get a clean edge or where paint seeped under the paper stencil.)

Here is a section of the quilt where I have begun the stitching. I like the way that layer adds more dimension to the underwater scene and seems to push the fish a bit further into the background.

. . . . .

Showing this work tonight in my blog is a good opportunity to give a shout out to ARTBURST STUDIOS.

I participated in one of their on-line shows last fall, and I will be in their upcoming November show this year too. (This underwater piece and much of what I have going on the studio now is being made for that show.)

Don’t know about Artburst? Here’s a quick overview:

You can find them here: https://artburststudios.com/

Their next online show is August 15 – 17.

Artburst is an online gallery, featuring pop-up shows several times a year. They curate a small group of artists, all of whom create work just for that show. All are available for viewing and buying online. Good mix of styles and prices. It lasts just three days then it’s over.

When I first met the organizers of Artburst I was impressed by their niceness and their genuine interest in promoting artists.

If your interest is discovering new artists to love and if you like to shop for art, I hope you will take a look at the August show. I’m not in this one, but there are some interesting, talented artists displaying their work.

(Then when I start promoting the show I’ll be in this November, you’ll already be a pro at attending their shows.) Happy discovering!

. . . .

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch:

From idea to image on fabric

July 28, 2024

This weekend was my first chance to get back in the studio in a week.

(Friday was driving home day from SC and Georgia – as much of it as we could on HWY 441 and other back roads away from the Interstate. So much to see and absorb!)

During the drive, I mentally composed a few new works I want to try. So I began my studio time this weekend bringing nothing but ideas, and the chance to work from the very beginning on a piece that will be a whole cloth painted fabric.

At the beginning: Prepping (gessoing) the fabric

I get a lot of questions about this stage so I’ll elaborate a bit.

There is actually a product you can buy called “gesso.” It is a white (usually) paint primer that's used to prepare surfaces before painting or drawing on them. It's made from a binder mixed with chalk, gypsum, pigment, or other ingredients, and can be applied with a brush or sprayer.

But, ever since a conversation years ago with a fellow exhibiting artist at a street festival, when she told me she used white latex house paint primer as gesso, that’s what I’ve used.

My usual fabric of choice for a substrate is plain, unbleached cotton muslin. When I gesso it before working on the image, it seals the surface just a little so it takes the paint better when I get to the stage of adding color and image. And, it keeps it from having quite so much stretch and give.

Use a light touch. You don’t want a big heavy coat of latex paint on your fabric. I generally spritz the fabric, then dip my brush in water, then dip it lightly in the paint, then paint it over the surface fast, maybe watering it down a little as I go.

I hang it outside on my fence to dry.

Next I masked off areas that will be painted differently from each other.

This big lime green square is defined by a masking tape edge. The other areas have been defined by torn-edge freezer paper for uneven edges.

I am working each section separately, then unmasking.

I’ve used several image-creation techniques so far.

The big lime rectangle I painted with a paintbrush directly. (It’s quite flat a little overwhelming to look at so far. I’ll be toning it down as I add more layers on top of the lime. I’ve saved it for last because I haven’t decided what I want to put in there)

The 2-color area top left and top right are created as a lightly painted wash of pale blue overpainted through tree-shape stencils using a foam roller and darker blue.

The bottom section filled with organic linear shapes is monoprinted on a gelatin plate.

The under-paint of washy lime and blues was painted directly. Then I laid roots and other natural forms on the gelatin plate and printed the dark background.

Nothing so far this weekend is completed. Just some colors and textures coming together in a way that interests me. And the pleasure of being home in the studio again.

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

How I keep in touch: