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Tuesday, November 29, 2011


Crayons, known for having produced many stick figures, showing alternatives to simple batik processes, used to push up ones nose, rudimentary in wax monoprinting, and along with who knows how many other enjoyable activities- 'cept maybe not the nose thing.

The term crayon is inclusive, synonymous with certain memories and products. Not always on the top list for artist materials, or at least professional artist ones. Sometimes even condemned to be, "childish," as if, "childish," is a bad thing. Having my own reservations about them, I still feel they've earned a right, even if it were out of just plain nostalgia. It is however, for more than just nostalgia's sake.

Something that springs to mind is that I have been using them for teaching encaustic monoprinting. Rarely ever do we use expensive high-end art supplies to learn a new art form or process, at least not if it isn't necessary, and of course, not in saying to cheap'n the value of the crayon. Here is a look at how crayons are useful different ways.

First off, it is to make full use of that nostalgia value. Nothing like digging through a bucket crayons, or breathing in that familiar scent, to get the memory juices flowing. If not used for what they were meant, they can be found in advertising, sculptures, mailboxes, collections, and much more than one can think of. Where have you seen crayons outside of typical coloring? Images of the crayon are everywhere, just look at the header of this post. Nostalgia plays a big role and is important- whether we realize it or not.

Second, and keeping it short with links to previous posts written on the topic, a process making use of the everyday run-of-the-mill crayon. Combining encaustic and printmaking, wax monoprinting or monotypes, in general is a printmaking technique that creates individual unique pieces with the process applied to encaustic. The process is very simple and crayons make the perfect learning tool. Being relatively inexpensive compared to encaustic paint, but ready to use out of the box, plentiful supply of colors, and found in many stores just around the corner- it's hard to argue the case for not using them. Monoprinting with crayons can be a fun and easy first step to learning a new technique, one tied to a ancient practice. Only remember if you plan on creating gallery worthy work, or honestly any minute amount of seriousness, you may (or may not) move on to encaustic wax. I will not mention the health issues, or the ramifications of using crayons as encaustic here, rather for in depth look on encaustic, refer to the Encaustic Resources link.

Batik dyeing
Crayons can be used in a simplified batik process or in candle-making as well. Crayons argumentatively will always have a place and serve the purpose of many lessons in art making- WOW! if only only I had my own crayon making mill and label machine I could make my own, with my own choice of ingredients.

Thanks for reading and don't forget to look at, Crayons in the Realm of Encaustic, if you would like to read more technical stuff or about encaustic itself, look at the Encaustic Resources.

Monday, November 21, 2011

A simple photo studio for websites, blogs, shops, etc.

Getting the best shot for online websites, blogs, shops, etcetera... all starts with a very SIMPLE studio.

Expensive? No!
Hard to find? Not really!
Confusing? Nope!
What about the camera? Uhh... not now.

You will need one office style presentation easel (this article uses a clamp style), a large sheet of white, grey, or black paper for a backdrop that is approximately 3' x 6' (grey or black is recommended over white), a sheet of 22" x 30" hot press watercolor paper (hot press has a smooth surface that does not excessively create shading/shadows in the photo like a rough or cold press paper will), four magnets (preferably neodymium, they wont mark the paper like the black ones and they are much stronger for there size), and a table or the floor (whichever space you prefer- there is benefits to working on either surface).

First off, do your best not to kink, krumple, dent, or bend your papers; those sorts of things can create shadows that show up in the photo.

As seen here in this post's pics, you get a good idea how to set-up. Rather simple, and most supplies outside of the camera equipment, were found at a thrift store, or were inexpensive supplies from the hardware and artist supply shop.

The watercolor paper purchased from an art supply shop will cost around three dollars for a twenty-two by thirty inch sheet- and you can buy the generic brand- only be sure it is hot (smooth) press. If you are shooting larger objects (say around ten to fifteen cubic inches) get a larger sheet of paper. This is because it's difficult to shoot without showing the edges of the paper (of course this is only if you care).

Magnets from the hardware store can sometimes be pricy (ehh, about $6), have endless uses. But most importantly, four of them hold up the WC paper on the backdrop paper. It is important not to permanently attach the WC paper to the backdrop paper. Depending on the item being photographed, either a vertical or horizontal piece, you will shift the WC paper up or down- shooting from the side or more above the object. As for the backdrop, it helps to glue a stiff strip of board to the top edge to help the easel grasp it. This may vary on what style of easel that you have. You can also fold it over several times, just be sure to buy a sheet of paper about a foot longer to compensate for the loss.

As for the easel, picked this one up from a thrift store for about three bucks, oddly and quite by surprise, if you buy it new from the office supply store, the price is quite hefty. This setup will get you going, but remember photo editing software can do a lot, and even the best studio, with the best setup, will still use it. The pictures below are some crayons I photographed with this studio setup, they are for a encaustic monoprint post, Crayons in the Realm of Encaustic- photo on the right, before photoshop (PSElements) and the photo-shopped (PNG) version on the left.

Some simple tips (I won't give lengthy descriptions), play with these in photoshop: 'levels,' 'colorcurves,' 'saturation,' 'brightness/contrast,' and as seen in this posts pics, 'PNG,' files allow for backgrounds to be cropped out with the, 'magic wand tool,' (play and tweak the tolerance for best results- tolerance controls how many pixels are selected) and the result is a transparent background to match website background, or in my opinion, simply to get rid of that annoying blocky feel.

Have a
Happy Shoot!!! :)

Monday, November 14, 2011

Art Materials (Japanese Pull Style Saws)

As an artist and a woodworker I've always found a Japanese pull style saw to be one of the most beneficial tools to have around the workshop or studio.

A saw designed on a pull stroke instead of the western design to push in order to cut- it is used where accuracy and control are key to great craftsmanship. The pull design allows for a very fine kerf (the width of a cut) than it's push alternative that has a thicker blade that resists bending or kinking when pushed.

Additionally a blade can be purchased, less strain on the wallet when it comes to replacement, and why buy a handle if you dont need to. Any downsides to the design may be how easy it is to knock of a tooth or two if and when care is not taken. All in all, far worth the cost and recommended over the alternative for those looking for a great saw. 

Thursday, November 10, 2011

Peek at a Current Project

Kasha Katuwe
Soon I will add encaustic wax to this stack of board and wood (along with another section not shown) to recreate a place, Kasha Katuwe, Tent Rocks National Monument. All part of works I am doing on the topic of land.
  • Excerpt from Portfolio - Current project concepts surround the topic of land and how it is built upon, utilized, and restructured to suite the needs and wants of the public pursuant of preservation and restoration with a requisite of use.

Wednesday, October 19, 2011

New Look & Features!

ParksArtworks© has been and will be going through some changes in the way it looks, and in the way you navigate. Things have been streamlined and made more efficient in order to bring a better online experience.

There are two main pages: The Blog and the Encaustic Resources.

Don't forget you can connect with us on Facebook and Twitter- whatever might be your favorite way to stay connected.

If there are any concerns, question, suggestions, or comments- which are very much appreciated, do not hesitate to contact us.

Thank you


Thursday, September 22, 2011

Encaustic: What's Next?

I started working with encaustic a decade ago, drawn to it's sculptural qualities as a painting medium. (Image- one of the first encaustic painting that I had ever painted: Untitled 10" x 10" 2002.)  I set up the Encaustic Resource Pages to provide basic to advanced tutorials and information, plus supplemental info., such as where to purchase supplies. Now... the next step is up for suggestion.

Beyond the information out there that wasn't out there just a few years ago, the more recent information, personal blogs, websites, YouTube videos, instructional DVDs- all rely mostly in suggestions and personal technique. I myself suggest using one tool over another, say one is better suited. I can give you information on temperatures, substrates, brands, or safety precautions. And, I have given much of this, this kind/sort/type of information on those resource pages. However, I would like to offer more, but it is clear to me that this is quite difficult to do or to decide upon not knowing the express needs of the individual. I could further the site with more photographs or videos of step by step visual instruction on a topic. As visual artists there is no harm in offering more visual aids. Knowing, sometimes it is easier to see how, than to be told how.

So what is next for my Encaustic Resource Pages, particularly Tools and Techniques in encaustic (outside of video/image tutorials), is there something drastically missing? Is there something you are looking for that isn't there? Perhaps a full fledged website would be nice (no money for that right). Better navigation never hurts. A collection of works from artist who use wax or encaustic as a medium would be cool. This is all open to suggestion- even if you don't work in encaustic.

Personally I will be trying to keep up by posting news on what I am personally doing art wise, including encaustic- primarily in a sculptural realm. So stay tuned, comment, ask question, and/or wait.

As always, thank you for reading,

Friday, September 16, 2011

Current Work Continues: Installation?

Lately I seem to get stuck with the idea of: Should I or should I not make what I am working on an installation? I have not come to all the ideas of what it clearly is- therefor it is difficult to say that I want to take that route. Anyway, here is another glimpse, an addition to the project I posted previously- a display cabinet, adding to the fourteen foot long piece of meandering wood and encaustic sculpture. I hope to add more encaustic 'parts' or 'pieces' to the whole thing at a later date- so I will continue.

Sunday, August 28, 2011

Current Encaustic Project

Path | 1 x 168 in.
A glimpse of my current piece, encaustic and wood. This project is intended as sort of an installation, titled, "path," it is one of several in a series of pieces on the topic of land. It is building on the idea of the trail, a confined pathway that is natural and unnatural. The piece is intended to cut through a space much like a pathway or trail cuts through , meandering, conforming to it's environment. The piece is to be suspended and pictured here as a work in progress, temporarily installed in the artist studio floor.

Saturday, August 27, 2011

Current Happening

Recently I had the pleasure of designing this ad... as well as photographing the art- which was used in the header design, within the ad, and on Ghost Ranch's website.

Opening Reception: Saturday August 27, 2011, 2-4 pm
@ Ghost Ranch Piedra Lumbre Education and Visitor Center

The Illusion of Colors, featuring a variety of bright energetic colors as creative expressions by artists who participate in the VSA Day Arts Program at North Fourth Art Center. In their varied and artistic ways, the artists interpret and celebrate different hues and ranges of color in the art of quilt making, unique ceramics and mixed media painting. Color has a great effect on us all, both emotionally and physically, and the artworks presented encourage interaction and discussion.

"We believe that art is to be shared, to be given and received with appreciation, respect and awareness. The red and yellow cliffs of Piedra Lumbre makes a magnificent backdrop for our artists' colorful work," said Lina Jabra, Community Development Director.

The goal of the exhibit is to highlight the artistic achievements of individuals with disabilities and provide opportunities to exhibit and sell their artwork statewide. Currently a portion of the sale of each work goes to support the Ghost Ranch Piedra Lumbre Education programs with the remaining portion going directly to the VSA artists.

The visitor center is located on US Highway 84 between mile marker 225 & 226, just north of the main Ghost Ranch entrance. For more information and hours of operation
please call (505) 685-4312 or visit

Monday, June 27, 2011

REMINDER: Allyson Packer

REMINDER of upcoming exhibit.
Allyson Packer; fellow artist and friend, is having an upcoming exhibition of her work in Albuquerque, NM at the Harwood Art Center; I wanted to take a moment and offer her my support.

Allyson Packer works in a variety of media, taking subject matter from her own life and using it to examine the human need to seek out structure and understand our place within it. She received her BFA from the University of North Carolina, Chapel Hill and has shown nationally in Maryland, Minnesota, and New Mexico. She was the recipient of the Harwood Art Center's 2010 Crissey Emerging Artist Fellowship and has been named a 2011 fellow at the McColl Center for Visual Art in Charlotte, NC.

Her upcoming exhibition, "As Much as I Can Carry: Personal Plans for Survival," the artist creates installations reflecting on her experiences surrounding time she spent living in New Mexico. Using the theme of survivalism in the desert, her artwork tells the story of an individual searching for meaning in a desolate environment. Serving as a site for the projection of an internal conflict, the desert reveals both the conscious desire for autonomy and subconscious desire for comfort and inclusion.

You can find out more about Allyson and her work at these websites, and

So if you are in ABQ, go see Allyson's show, Opening Friday, July 1, 2011 6pm-8pm.

As Much as I Can Carry: Personal Plans for Survival
At the Harwood Art Center main gallery
1114 7th Street NW
Albuquerque, NM 87102
(505) 242-6367

Thank you for reading,

P.S. Thanks A.P., for the info :)

Friday, June 10, 2011

World Refugee Day

Hello All,

As part of World Refugee Day, it would seem that some of the lessons on encaustic monoprints came front and center. Come out and support- wherever you are in the world.

As always- thank you for reading,

For more information on World Refugee Day, search World Refugee Day or visit

Monday, May 30, 2011

Americorps Exhibition at VSA N4th Art Center

Hey folks,

I have been a little busy co-curating an upcoming exhibit dedicated to all the hard working Americorps at VSA N4th Art Center. Exhibition details can be seen on the postcard to your right and below.

It has, from what I understand, been a tradition to offer an exhibition to those artists who come to work and teach their talents; offering their skills through N4th's programs. Such talents range from theatre, music, visual arts, and more- they all are more than grateful for this opportunity to display their artistry. So...

Come out and support those who have dedicated their time, energy, and talents; opening reception is June 3rd from 5 pm. to 7 pm. at:

Monday, May 9, 2011

Support Some Good Folk

Hello All,

I wanted to divert from typical posts and throw out some support for friends, family, and just a couple of random things I just happen to like.

I would like to start with music, and with music, it is easier to listen than read; so I will keep it brief. The Albuquerque Boys Choir (ABQBC), a a'cappella, acoustic, folk band; two ladies I had the pleasure of working with my first year as Americorps; sound pretty good and not to mention, friends:)

ABQBC has this thing at there house every once and again that they call, "Communion," where a bunch folks get together and play music and such and have a good old time. Anyhoo, those little shindigs led me to mention, The Good Ship S.S. Perry, good luck in NYC. Which all led me to Bandcamp a website for musicians- where I found lots of stuff to listen to while making art, like  Lemelo (cool to be the first from NM to buy:), Jeans Boots, and many other great bands (that I don't personally know but like their music).  Point being support friends and small bands and stuff alike, cus well I'm a small, (uh- artist) myself.

Speaking of artists, a little reminder, Allyson Packer, and also check out another friend, lamagnolia. Easier to see than me write; but they are worth a looksy.

I don't want to forget my sister sells stuff, so check out hurricanehetta. Stuff she makes, stuff she finds, stuff that's vintage, stuff that's a good price.

Also if you know me, or- eruh- I guess don't know me, shoot me a link of similar subjects and I will post it (as long as it is not to objectionable).

Thanks for reading, and looking, and supporting, and well anything else

*ABQBC photo credit Eric Parthum

Sunday, April 24, 2011

Artwork by Exploratory Arts Studio Artists; from VSA N4th Art Center

Hello Readers,

I would like to take a moment and share with you the upcoming exhibition of artists from VSA N4th Art Center's Exploratory Program. 

I had the pleasure of working with many talented artist within Exploratory as part of my first year through Americorps. It is nice to see their efforts move out into the community. So, if you are in or from around Albuquerque, or know someone who is, come and support the artists and your local community. The exhibit will be taking place at Hookah Kings Westside, 9784 Coors Blvd. NW (First right after Irving Blvd.) Albuquerque, NM 87114.

Thank you for reading, and thank you for supporting your local artists
Jonathan Parks

P.S. You can also visit VSA N4th art center to see more of the artists work. To learn more how you can support, visit:
4904 Fourth Street NW
Albuquerque, NM 87107

Tuesday, April 12, 2011

Glass Landscape

There is this most ridiculous of places to leave a person in wonderment. Situated far to close to the Rio Grande River in Albuquerque, NM- in what should be prime riparian habitat; yet I can not help but accept it's presence.

Environmental blight or spectacular dreamscape, this dumpsite which was repeatedly burned to remove waste has left behind a glittering landscape to behold. I realize what harm such a place held and holds on the environment; particularly so close to the river. However, as an artist I like to see the potential in what has already come to be. Some say leave it be, some sort of beautiful place everyone should visit. Some go rake and bucket in hand to seek out their treasures. Some would demand the clean-up of what could easily be labeled- environmental hazard; return what was made wrong and make it right again.

I can see where most rational opinions can have a place. As someone who cares dearly for the natural world I wish such things would not be. Treating this place as some sort of historic site or preserving it's place in the world seems a bit much in my opinion. People learn from their own and their predecessors mistakes; accepting what is and finding something new and good in it all- also is where I stand. However, I don't think someone should visit digging with a rake or shovel for that special find; only to stir it about- health hazards I imagine abound. I expect mercury and lead amongst the black dust and glass. Remnants of pasts lives, mostly broken (lol, the glass- not necessarily their lives), some not broken, some melted, ceramic shards, and occasional pieces of metal. Bottles may still even have their caps- joking if you are to open one of those scarcities you may unleash the plague, but unlikely.

I can imagine there are places like this all over the world; but, this is almost in my backyard. The leftovers of decades of seemingly endless glass- left behind when all else has smoltered away by ignorance. Have to say you need to see the beauty in it and move past to something better- like melted lightbulbs :)

Thanks for Reading!

Sunday, April 10, 2011

Allyson Packer

Allyson Packer; fellow artist and friend, is having an upcoming exhibition of her work in Albuquerque, NM at the Harwood Art Center; I wanted to take a moment and offer her my support.

Allyson Packer works in a variety of media, taking subject matter from her own life and using it to examine the human need to seek out structure and understand our place within it. She received her BFA from the University of North Carolina, Chapel Hill and has shown nationally in Maryland, Minnesota, and New Mexico. She was the recipient of the Harwood Art Center's 2010 Crissey Emerging Artist Fellowship and has been named a 2011 fellow at the McColl Center for Visual Art in Charlotte, NC.

Her upcoming exhibition, "As Much as I Can Carry: Personal Plans for Survival," the artist creates installations reflecting on her experiences surrounding time she spent living in New Mexico. Using the theme of survivalism in the desert, her artwork tells the story of an individual searching for meaning in a desolate environment. Serving as a site for the projection of an internal conflict, the desert reveals both the conscious desire for autonomy and subconscious desire for comfort and inclusion.

You can find out more about Allyson and her work at these websites, and

So if you are in ABQ, go see Allyson's show, Opening Friday, July 1, 2011 6pm-8pm.

As Much as I Can Carry: Personal Plans for Survival
At the Harwood Art Center main gallery
1114 7th Street NW
Albuquerque, NM 87102
(505) 242-6367

Thank you for reading,

P.S. Thanks A.P., for the info :)

Sunday, April 3, 2011

Art Materials (Model Kits?) Continued

As promised, I want to briefly update you all on the, "Art Materials (Model Kits?)," adventure with encaustic paint.

The future plan is to paint or dip these, roughly 3.5 inch plastic people in encaustic paint and then add them to a sculpture; generally speaking that is. I have been more inclined to work three-dimensionally for some time now and want to place a human element in some pieces.

I thought I should test how the encaustic and it's processes effect the plastic with the scraps first; for example, see what might happen under heat. I am also slightly concerned about how the wax will stay stuck to something like this; maybe I should rough it up a bit. Anyway, here are a couple of pics to show you up close what they look like out of the box.

Thank you for reading and don't forget to check back for future updates.

Wednesday, March 30, 2011

Teaching Wax Monoprints

I recently taught the basics of wax monoprints to a group of high school individuals as a part of my Americorps position at a non- profit organization that provided outreach as a component of VSA North Fourth Art Center's many programs. The programs are geared towards, or facilitate arts for/in the community. I along with other members of the outreach team travel around to different sites in Albuquerque, NM with the purpose of  offering art based lessons and activities.

At this particular location we offered art and other lessons to high school students that are part of a after school program through Catholic Charities. The lesson this day was a basic encaustic, or rather, wax monoprint/monotype project; a project that I love to share. Unfortunately a budget commands crayons over real encaustic paint; however, the project was still successful- even with the wind. Yes, I said wind. Not to say that we couldn't have done the project inside; but, we all opted to work in the courtyard.

With kozo paper, watercolor paper, paper towels, rocks :) to keep the wind at bay, and a bucket of crayons instead encaustic, ten or so students created some great first pieces. Everyone was given both 90lb watercolor paper and Japanese kozo paper to see the diferences between the two; how paint sits and soaks into the surface creating two very different looks.

In the future I hope to make encaustic sticks using a crayon or candle mould. Especially if the student or individual has participated in the crayon version. Crayons worked well for this project, making them okay, and of course taking the account of sticking with a budget. Also, not to mention, blocks of encaustic are hard to handle sometimes when making small marks and lines. A baren for pressing the paper down on the palette and a handfull of tools for manipulating the paint on the palette would have been handy; forgot to bring those. However, there is always next time and for a first go at it, along with trying to document the whole process, I call it a success- especially since everyone had a good time and learned something new. Below are some of the students work.

Thank you all for reading,

Tuesday, March 29, 2011

Art Materials (Model Kits?)

Not just for glueing and painting, then playing with or staring at; all though, I will be making something that will be stare at. Technically this is a Japanese toy model kit from the 1980's; leaving me to title this post the obvious: "Model Kits?;" honestly, I don't know what to title it. Not to say anything bad, but I'm not a model kit kind of person. So the strangeness that I find in this may only be in the fact that I lack model kit knowledge. All of my memory of such things were of airplanes, cars, and alike; not necessarily people. The reason I bought it (from a thrift store) was for a art project; and a art project it will be.

Working mostly with encaustic I am likely going to cast them or dip them in wax. Concerning me with how the plastic and glue will react to massive amounts of heat (somewhat avoidable heat); maybe a good reason just to build it and cast it. I like the fact that they are flesh tone and not some other nondescript color of plastic such as grey. If I decide to dip them I may just use a clear coat of medium to retain some of that fleshy plastic look; who knows.

With literally hundreds of ways of using such things in your artwork the possibilities are endless. And if anyone has any ideas they would like to share, please do so; particularly if you use such things already. My problem is only in that I don't want to open it now because I found similiar kits selling online anywhere from $65 to $100; yikes! Well, if anything- maybe I sparked some ideas for you. I am looking forward to posting more on what I end up doing with it.

As Always: Thanks for Reading,

Thursday, March 24, 2011

Art Materials (Stuff #5)

This post is about wood; you don't have to be a sculptor, carpenter, or woodworker to have a reason to seek out wooden objects; painters and alike have good reason to keep their eyes peeled. Also, you don't need to go to a wood supplier to get all that you need; even-though, places like Rockler Woodworking and HardwareJapan Woodworker, and Woodcraft can supply you with much of what you need. Panels from frames can be painted on, cabinet doors are pre-made panels with frames, sides of furniture also, backs of old cabinets are often left quite intact even with the rest falling apart, and tops of tables and dressers are usually a nice solid piece of wood.

You can learn more by reading Wood on the Tools and Techniques page of the Encaustic Resources Pages.

Buying local is always the best way to go; that and there is usually a wood supplier around most places & oddest places. FSC wood is good, or if it is really local you will know why the tree was cut in the first place; maybe even exactly what tree it was. Houses get built, roads laid, storms topple, and trees rot; sources you need not feel bad for salvaging wood.

Local wood suppliers often carry local wood; also odds & ends that normally would be scrap. Like this piece of walnut I bought from the scrap box at the local Woodcraft here in Albuquerque NM. Part of an encaustic series on landscapes that I am working on- and is long overdue; hope to post on that at some point.

Speaking of that project, I've been using turning stock, like this black palm (see below), often 'green' stock which can pose a problem. If you not aware, wood is typically kiln dried; moisture is drawn out of the wood in a controlled environment. What you buy from the lumber store will stay relatively the way it was purchased with kiln dried products.  However, turning stock is often green wood; wood that has not been completely dried or dried at all. Green wood is great for turning a bowl on a lathe, but not so good for many other projects. As the wood dries- checking, cracking, splitting, twisting, and warping can all occur; particularly if the wood dries really fast. This environmental effect I actually like, and I am working to incorporate that in my series; also a effect that I am not necessarily choosing to be a part of the piece- yet keeping it in mind.

Wood comes in many different species and from many regions of the world; from Gabon ebony to longleaf yellow pine. I stress this point: that if you must have a certain species to get exactly the look you want, and there is no other option, pay attention to the practices of the company or business that it is purchased from. Also I have been incorporating veneers (a thin covering of wood typically placed over lesser valued species; common on the surfaces of plywood). I use the veneer when I want a more exotic look; I am able to afford more species and veneer is less damaging on the environment. It does not make since to damage what I am trying to protect. You might be asking yourself: why use it at all? Well, think about fair trade coffee; buying properly managed wood products from reputable companies, through organizations that pride themselves on sustainability and providing employment to people who need employment- just makes sense. You won't be able to completely eliminate the harvesting of wood, but you can pick who you buy it from; support the companies with good practices- thus eliminating the alternative.

Thanks for Reading

Wednesday, March 23, 2011

Art Materials (Stuff #4)

What is practical in art supplies? Uhhhh, I mean you know what it is used for, and that 'is', what it will be used for, instead of not knowing like before.

Brushes, rulers, tools, paint, glue, pigment, sandpaper, wood, whatever it is, you know how you are going to use it. Like this self inking number stamper used in the mailing industry, I will now be using it to number my prints; up 999,999 of them. Ok, I am probably not going to make 999,999 of anything, but it's nice to have the ability. A super handy purchase and picked up in a thrift store for just a few bucks; what I like the most is a trigger on the back-side that will advance it by an addition of one. It does need to be cleaned and a archival ink used, but it's worth it.

Practicality I reckon is in a item's usefulness; really it is all in how you look at things. Take for instance this print of knots; the practicality is in it's information; not in the physical use. But if you have no use for, say shards of glass, then practicality is individualized.

I personally like to think there is some practical use in things that give you inspiration; inspiration that drives one to create.

Monday, March 21, 2011

Art Materials (Stuff #3)


What the heck am I going to do with this? We all seem to buy things now and again that we just like for some reason or another; yet, when we get it home we ask ourselves and wonder why?

I do this all the time when it comes to art supplies; however, I feel that there is a little more flexibility in art stuff. Reason being: if you can make something out of it or use it (e.g. paint, pencil, etc.) then it WILL get used- eventually. The problem for me is when it comes to storing it all.

Reasons may have been there when buying in the beginning, but went out the window later. These opaque glass pieces were to be part of a kaleidoscope project, but now that the project is a bust I will have to repurpose them. I wondered how they might be used in an encaustic work. I am sure it will come to me eventually.

Also, when buy buying oddities from here and there it's easy to be fooled. I am always on the lookout for wood- thought that when I bought this parellel piece of, 'not so sure what.' I think it's bakelite or very hard rubber; and now I am unsure what to do- oh well.

Even if you are not sure at the time what to do with something (lol, err- or what it is), you bought it because you liked it; no worries, you will find a use- even if it's giving it away to someone with that same feeling. Maybe they will have better luck, or not :)

Wood is super versatile, bottles you can put things in, tiny rubber people are just fun, and every thing in between. Don't worry to much, especially when the price is right; everything here was less than $4.00 :)

Thanks for reading, Jonathan
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