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More Commercially Made Sketchbooks

BookSelection

Above: More commercially manufactured sketchbook/journals, I've not discussed on the blog before (with one exception). In the text below I discuss them by "letter-label." Click on the image to view the enlargement.

On a recent trip to Wet Paint (where I’m happy to report they have all three sizes of the Fabriano Venezia hardcovered journal if you enjoy working in that book) I picked up a couple more sketchbooks to test out. (I can’t help myself. I am aware that at some point I will not be able to bind my own books any more and I want to be prepared with alternatives—at least that’s what I always tell myself.)

The Journal and Technology

Noteboek from Evelien Lohbeck on Vimeo. Meliors wrote to me about my post "A Thought," sending this link, which I'm going to try to embed here, but since I have 50/50 luck with that, if the video doesn't appear embedded, go to here. You will enjoy this. Many thanks to Meliors for finding it for […]

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Paper Choices: Fitting the Paper to the Technique

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Above: Two journals I made this week using a purple bookcloth and decorative papers I made with Fabriano Uno Soft Press 140 lb. watercolor paper (a discontinued paper) and acrylic paints. Right—7 x 8.5 inches, “frost” pattern; left—8 3/8 x 10 5/8 inches, loose swirls of color. Click on the image to see an enlargement.

When I stopped to take a photo for my journal (I like to document book batches with swatches of materials used and photos of the resultant books as a record and reminder) of two new journals that had just come out from drying under weights, I realized they gave me the opportunity to talk about paper choices in a concrete way.

Artists Mining Their Sketchbooks for Inspiration

JanBeaneyLeft: Book 16 in the stitch and embroidery series of Jan Beaney and Jean Littlejohn. (image ©Jan Beaney and Jean Littlejohn) Click on the image to see an enlargement.  

I love looking at the sketchbooks and journals of other artists. I enjoy seeing how their art materials choices make differences in their art. I always learn something from their use of the page, page spread, or negative space. I am curious to see how some artists go totally visual and others lay on the words. Pattern, color, texture (of collage) all draws me in. I have a sense that I am watching the artist work his way to a conclusion in a very personal dialog. I am intrigued by process.

Attraction to this material causes me to seek out sketchbook facsimilies and other published records. I was thrilled to find the fabric artists Jan Beaney and Jean Littlejohn.

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