Back to Frames

After a little side trail about chinoiserie, I returned to my latest art journal spread with my original intention—a profusion of frames.

Here’s where I ended up:

And here’s where I began:

I’d spent my first session after I’d drawn the animals fully absorbed in the blue bird-and-branch border. It was interesting to work on, and I was pleased with the border itself. But as an element in the spread, it was too strong. It drew attention away from the animals. I thought I might push it back somehow. But I decided to first paint the animals then see where things stood.

Painting the animals went smoothly. I retreated to my usual method of transparent acrylic washes over a pretty developed pencil drawing. The only thing I wish I’d done differently is to have added a coat of gesso over the animals as soon as the rough pencil sketch was donw but before adding all the pencil detail and development. That way, not so much of the text from the original book pages would have shown on the animals themselves. Oh, well! A note to self for next time.

After I painted the animals, I still felt that the blue border was too strong. So I ended up adding a thin coat of gesso over that border to reduce the value contrast between the birds and branches and what was behind them. I went very lightly, however, over the birds. I wanted them to stand out a little.

At this point, I was able to pursue my original intent of multiple borders.

I thought the spread could use a bit more color, so I got out my Neocolor II water-soluble crayons and added patches here and there. I really like these crayons because after drawing with them, I can smooth them with a brush and water or matte gel medium. Using the medium rather than just water makes them permanent, which can be very helpful.

Once the color was added, I wanted to add borders of pen work around the edges of the book pages. I also decided to add another blue bird holding the chain suspending the star over the mouse. I did the bird the same way I’d done the blue border, but went lighter with the watercolor pencil.

Then I began the penwork border. I wanted to use a dark brown pen, but I didn’t have one. (Not quite true, as I have a crow quill pen and raw umber acrylic ink, but that seemed like just too much effort. I’d have to sit at the art table rather than plunk myself down on the comfy sofa. I’m so lazy sometimes!) I only have a brown pen, and the color isn’t as dark as I’d like. But I went ahead, starting with the mouse side. Wouldn’t you know I didn’t like it?

Since my brown pen is only water resistant and not water proof, I was able to rub most of it away with a damp paper towel. But it still showed a little bit. So I felt I needed to add a similar border to the marten and then wipe it away too just to balance the piece.

Fortunately, I hadn’t done a lot with the brown pen before I realized my mistake. But, actually, I wouldn’t call it a mistake—just a learning experience, as once I had most of it rubbed away, I liked the effect.

Onwards!

I could either continue with a black pen or order a sepia one and wait a few days. Impatience won out. But I didn’t do a lot with that black pen, and I might have done more if I'd had a dark brown. I just detailed a twig frame and intensified a few of the brown, rubbed-out leaves.

Then it was time for the real fun: silver and gold. I love my Uniball Signo metallic pens. They’re bright and micro-glittery, but not garish. At least I don’t find them to be. I used the silver for the moon and chain around the marten’s neck, for the star above the mouse and its chain, and for teensy highlights in the right eyes of both animals.

As for the gold, I added a ¾” to 1” filigree band along both the side edges. I was tempted to go all the way around, but decided that it would be more interesting just on the sides. It would be a bit unexpected.

Sadly, it’s also not visible unless you see the piece in person. The light has to be just right on it. Try as I might, the photo of this little bit was the best I could do. It will give you the idea, I hope! You may also be able to see a few bits of gold in the brown/black leaves at the lower corner of the twig border.

By the way, it’s always very difficult for me to capture the gold and silver in a photo, but when the work is on paper that’s not perfectly flat, it’s impossible as the light doesn’t fall evenly over the whole piece.

Some things, I guess, are just meant to be seen in person.

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