Yesterday on the Official International Fake Journal Blog I posted a bird-related page spread peek into my 2013 fake journal. This journal is impossible to scan and I haven't had time to video tape the thing yet. (At the rate I've been going the book will be filled by April 18, at which point I'll have some free time to video tape it!)
Most of my extracurricular art time this month has been spent working on this fake journal. Because of that, and certain family circumstances, I won't have time to write on both blogs—especially on an almost daily basis like I do here at Roz Wound Up.
I wanted to give you all a heads up, that even though fake journaling isn't your thing, you might want to wander over to the Official International Fake Journal Blog from time to time in the next few weeks. It's there that I'll be posting not only more peeks into this journal, but reviews on the materials I used to create it. Materials like—gelli arts printing plates, various acrylic paint products, rubberstamp inks, a variety of papers, pens, and Da Vinci Gouache. I'd hate for you to miss any of that.
I'll continue to post here as time allows. I have lots of faces to show you from an on-going project, as well as other updates and art. But if you don't see something here, you might want to check out the other blog for interesting news on a variety of topics.
Perhaps of greatest interest will be in how I took a totally unlikely and unsuitable (for mixed media) journal—the Leuchtturm 1917 Notebook—and filled it up with mixed media. The results were surprising. (The link in this paragraph is to my original review of that commercially bound journal. The results will be upcoming on the Official International Fake Journal Blog.)
Briefly, because if I explained here everything that is going on in my fake journal everyone would simply pass out or miss his bus, this journal was about layers, and using inexpensive materials. (Though it is arguably the most expensive journal I've ever produced since I didn't have any of the inexpensive materials to use in it until I went out and got them in order to use them in this book!)
Since the approach was layers I had plans to take photos of everything each step of the way and compile it into a number of posts and videos. Personal time constraints are making that impossible, but I do want to look at some of my approaches and I love this spread so I thought I'd do that here today and if you're interested in more you know where to go.
Left: The spread with the Sumi paper and collaged papers in place. The lavender is acrylic paint. I created a monoprint using the Gelli-Arts Printing Plate.
First off in the above spread I used a Gelli-Arts Printing Plate and some cheap acrylic craft paints (all reviews will eventually run on the other blog so this is just quick notes about the process) to create a monoprint on Sumi paper that was larger than the page spread. That's the purple paint you see everywhere. I glued that complete sheet down over the spread. When it was dry I trimmed the edges (you've seen me do this in a video—if you missed my Strathmore Visual Journaling class in which I also demonstrated this you can see it on a smaller scale in this video here).
In a departure from my usual practice I used PVA for gluing the large pieces throughout this journal. (My rationale for that choice will be described in a future post on the other blog.) I didn't worry about weighting things or bubbling of paper. This journal has an absolutely scrumptious bulky-crackling to its pages.
Next I collaged some decorative papers at the top and sides of the spread. At the far right you'll see gold metallic paper under the dog's ear.
Left: A detail showing the line work sketch. I drew directly on the page with the Pentel Pocket Brush Pen. (It doesn't like to dry on the type of metallic paper I was using at the right edge, but I knew I'd paint over it.) I was using sketches I made from life and a couple photographs as reference.
When I came to this page on April 2 I decided to draw and paint a dog portrait. (This is my muse Sophia Grace, only I've changed her color a bit. She's so lovely.)
I struggled a lot deciding on whether or not to paint this sketch or leave the line work. I loved the background and wanted it to show, not be painted over around the dog. Conversely I didn't want to hide the line work. But the driving force of this year's fake journal was letting things go, and not being precious about things like line work. My character dove in and painted over the line work with Da Vinci gouache (after giving me a moment to photograph it!). I used that gouache because it is less expensive for the volume I was going to go through, wanted to try it, and wanted to experiment with a different set of pigments (they don't make a PB60). I'll go into my findings about this gouache when I review it on the other blog.
Left: A close up photo of the painted dog-portrait so you can see some of the brushwork.
Once the painting portion was completed I decided to rubberstamp in the background. Some stamps were used as background texture (dots, squares, lines, and text). But I also used a large alphabet to stamp my character's thoughts on the page in large pink letters. "Letting things slip." Before stamping the letters I cut and positioned a mask of tracing paper on top of the painted dog.
My character ends her journal pages with a stamped red dot and the date written around that dot. You can see this at the bottom of the right-hand page.
There you have it, a close look at the construction of one of the page spreads in my 2013 fake journal. In the coming weeks I hope that you'll take a moment to venture over to the Official International Fake Journal Blog to see other spreads and reviews of the different materials and products I used to create the journal. Maybe next year you'll join us?
Life's so short, why live only one?