There are some great comments at Drawn about ballpoint pen techniques in response to DQ, a collaborative sketchbook. On the subject of humble materials, there is also The Pencil Revolution. Of course, it quickly becomes apparent that finicky people (and I include myself in that group) can be finicky about anything. Even a wooden pencil.

For Gocco folks interested in the details:
Two more containers are required (for two other recipes) so we will have a chance to practice again and hopefully finesse the process. I flashed the master from a laserprinter original and had problems with carbon sticking to the screen (a common problem). For various reasons, I had no control over the toner output of my printer. In the future I may photocopy the master before flashing it, or I may even just trace the artwork with a compatible pen, use the tracing and avoid the whole toner issue, altogether. I’d also like to try enhancing the label by rubbing a small amount of white enamel paint into the etching.

Sketch inspired by a detail of an early 19th century birth/baptismal certificate in the fraktur style. Sakura Micron .005 and blue pencil.

The marbling process makes experimenting with color a simple task, and I had fun with a crazy variety of color combinations. Some were surprisingly successful and others not so. The large one above is probably my favorite with the red peacock taking second place. I was surprised by how well fabric can accept marbling—the last example is on cloth.

Personally, I make a distinction between this sort of intimate scale work (which I prefer) and the (perhaps better known) large scale mural work also known as trompe l’oeil. I recently viewed an exhibit of trompe l’oeil paintings at Reed College and was most intrigued by the painting of letters, documents and small collections of goodies. I’m heartily lusting after this book which was on display at the museum but is, sadly, out of print. The book was the accompanying catalog to the National Gallery of Art’s Deceptions and Illusions exhibit which I wish I could have seen. I’ve been scouring the used book marts for a decently priced copy. It will be mine some day. Oh, yes.

The structure of the class (Techniques of the Old Masters) which introduced me to trompe l’oeil had its good and bad points — the good is that I was exposed to a number of different painting techniques: egg tempera, fresco, 19th-century stenciling (with bronze powder), reverse painting on glass, silverpoint, framing, gilding, encaustic…the bad really wasn’t that bad, we just rarely had time to complete a finished work (with the exception of egg tempera, reverse glass painting, and silverpoint). It was more of a dip your toe in many artistic pools class. In truth, I can’t recommend the class highly enough. If you find yourself in the PNCA BFA program, take it! The instructor, Paul Missal, is wonderful and will likely be retiring in the next couple of years. He was one of my first and favorite teachers at PNCA. I hope he considers teaching some continuing ed classes so I can study with him again.

Oh, dear. Now I feel a sentimental mood coming on.

After about 10 attempts, I think I’m finally getting the hang of the marbling thing. I’m a rank amateur, to be sure, but can see possibilities. I love the psychedelic, lava-lampy aspects of this one. Of course, the colors emphasize it. I’m still working on finding a good palette. I have a motley assortment of Golden liquid acrylics and the garish assortment of inks that came with the mini-marbling kit I purchased at Art Media. Click on the picture for the full sheet so you can fully admire my air bubbles and mysterious black splotches (315k). Click here for a trippy close-up (173k). The trick seems to be to really load the tray with color and then smear it up a bit with a chopstick or some such thing, before combing through it. I learned about the smearing up part by looking at pictures of marble artist Ann Muir doing her thing. I just ordered a sample book of her marbled paper patterns, which are extraordinary, from Bookmakers and hope to find a sheet that will complement my cabinet.

This entry really clashes with my site color scheme. Perhaps, I should consider a color scheme that is less vulnerable to clashy-ness.