chaos #2 free version
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ISSUE
TWO
CHAO S
magazine
Broughttoy
ou
by
adonnathing
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W e l c o m e
This e-zine is all about me doing things and
trying to convince you that you can do it
too. If you wish to share your art through
this ezine you are welcome to submit your
article.
Your work wil l be published according to my
creative commons licence (check it out on
my website).
If you wish to place an advert I wil l
consider publishing it if it is relevant to my
audience.
If you want to mail art me join Sarahs gang at:
http://collabor-art.blogspot.co.uk/
Thank You,
Donna.
ITISFREEYIPPEE!
mail art me
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www.adonnathing.com
Designer: Donna Louise Rodgers, Luke Rodgers, Adam Rodgers
Photography: Donna Louise Rodgers, Luke Rodgers
Thanks to: My Boys and the Main Man
LINKS AND
COPYRIGHT
E
very sing le URL ((L ink) (Web address)) is
going to be highlighted, and depending
on if you have internet access, it may be
clickable too.
Al l you have to do is read, enjoy, and have
a go yourself.
S
o its worth downloading this e-zine and
being internet connected in order to get all
the features; clickable URLs, high resolution
photos and best of all, a printabledocument.
You may use my work in your personal
art, but not for any commercial gain. Oh,
and I must be attributed. And thats it put
plain and simple. Legally, the content is the
work of Donna Louise Rodgers and all work in this
publication is l icensed under a Creative Commons
At tr ibut ion-NonCommerci al 3.0 Unported License.
GROUNDRULES...
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GRAVECLOTHES
Many years ago, I made a wood burnt image of
a face in a Suzi Blu class. It made it for Sarah
for as her birthday gift. Sarah had black hair,
she was married to my brother. So she was my sister.
Simple facts. Four months after I gave her the painting
as a birthday gift, she died.
Hard facts are so harsheh?
She was in her very early forties. It was sudden
and traumatic. Even now, years later, it still ripples
through the lives of those of us stil l l iving. The
wood painting took on a renewed value after her death. I
was glad that I always take many high resolution images
of all my art work. The Sarah face has been reused
many times. I have kept a cropped supersized version of
this face on my wall. Im sure you have a favorite too. So
Im goign to show you how to reuse artwork in journall ing.
SIMPLEFACTS
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I will take you through how I created my journal pages
and, if you wish, you can copy it. Or apply the same
principles to create a two page spread of your own.
Email me your version:
O
ne of the lessons that Suzi Blu teaches is
to get a good face down on paper. It is
then easy to put a face onto any body or
composition. Provided the paper is not too thick, it wil l
integrate seamlessly into a mixed media piece of art.
After taking the paper face down off of the wall,
I chopped off the hair and re-purposed it into
a journal entry. I decided to share the step by
step making of the journal entry with you to encourage
you to have a go at a journal entry.
I l ike the idea of Sarah living in our journals.
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Open your journal at a two
page spread. The paper
needs to be heavy weight.
Stare at the blank double page, and
win the staring competition by choosing
your main colour, any colour - but
only have your blank page and your
one colour out, make sure the rest
of your desk is empty. Go work on
your dining table if your studio desk
is a mess. Be disciplined. Use a water
soluble paint. Do not use acrylic. Do
aim for patchy paintwork at this stage.
Empty your head. Think about
this one colour and nothing
else. Focus on simple strokes
of paint across the blank space and
dont be distracted by thoughts. Relax.
Apply the colour to the page
quite rapidly and without toomuch care. Please dont worry
about the edges. You can see I didnt
go up to the edges at all. If you pay
too much attention at this point you
will probably put on too much paint.
Walk away whilst the paint
dries. Do not use heat
on this or any of the
other layers. We are in no rush. We
havent even thought about what will
happen next. At this point it is just a
wash. A paint base layer of colour.
We will need a second
complimentary colour. I will
need to use orange as my
complimentary. Use this link if you
have no colour theory knowledge:
www.colormatters.com
/color-and-design/basic-color-theory
JOURNALINGITSJUST itsreal
ly
easytodo,
sojustdoit.
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Pick out a mask, I chose
flowers, and pick a second
water soluble paint, in a
contrasting hue of blue. My two
blues will clash.
Spray liberally. Pick up the
mask and flip it over and
press down - using up the
paint on the mask to create a
negative image.
You can make your own
spray paint and use a
mister, just be sure it is a
water soluble, not acrylic, paint.
Dont use any paints with
mica or glitter in. The
glimmer mist bramd chalk
board matte paints will work.
I
am using a dylusion spray over a
tim holtz distress stain, knowing
that they dry but are NOT
permanent (they will reactivate when
wet and the colour will move).
Leave it to dry.DO NOT HEAT.
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Heavy Inked areawhere the facewil l be placed,use a dry glue orthe blue wil l leakthrough your paperand into the face
Spray secondblue over themask to createtwo tone flowers
Flip the mask over andpress down to crete thenegative image ontheoppoiste page and side
to balance the work
Make sure you leave some spacethat is uncluttered, dontdo everything everywhere.
A secondary foca lpoint wil l be put hereto balance the faceon the opposite page.
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Once youve found
your tag, fold it
lengthways in half
and approx one third along
the width, align the fold with
the spine of your pages,
dont centralise the tag, you
want to take the eye away
from that middle line in the
centre of your journal, that
is creating somethig of a
distraction to a single spread
Adhere the tag with
a strong bond dry
glue ( I use 3M scotch
permanent glue sticks).
Dont USE A WETGLUE: you willActivate theblue paint andlose your greencolour youwill be makingmud colours
The tag integrates the
two pages breaking
the vertical l ine created
by the journal page fold. You
have broken a visual vertical
division and created greater
balance on the two page
spread. Off setting your
middle line fools hte eye into
seeing one instead of two
pages
Respray using anti slip
mat as a mask(IKEA).
Aim your spray so
that the effect is NOT even.
You can see I am keep ing one
area heavily sprayed and the
rest fairly lightly sprayed. Let
it dry, you do not have to sit
and watch the paint dry. You
can go do something useful
instead. The last two pages
represents ten minutes craft
over two days.
tag Find a tag that is a tertiary colour matchhttp://www.color-wheel-artist.com/primary-colors.html
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Grab your journal fodder (stuff you
have collected for this very purpose
but never quite got around to using
and only just realised is perfect for
this artwork).
Drop it onto the page, make sure
they are in your complimentarycolourand that the theme suits your
background.
I am going to use the balloon to float in the
blue sky, and butterf l ies to give movement
across the sky. The large foregound item
s and the small background items createdepth in the pages. Largest and lowest on
the page appears nearest: Smaller and higher
appears to be further away.I want to use the crown on my Girls head and
I wil l cover the big blob of blue with the paper
printed Sarah face. I introduce text in the bottom
border and within the butterf ly wings. I cut the white
space out of the crown. I make an origami hat (see
back pages), place it upside down, out of which the
small butterf l ies emerge. Adhered to the book centre
fold the hat opens and closes as a pop in in the book.
It folds flat when the book is closed provided you place
it in the centre.
Move your fodder around until it is well balancedandleave lots of open space for the main features.
your base border should not come too high, your fodder
for this layer should not even total one third of yourpage space. Put everything in one corner without anything
overlapping, but touching edges - if all the stuff side by side fi l ls
a quarter of the total two page space you have too much stuff.
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So take a few things
off!
Once you have the right
amount of fodder: Spread
out the bits you have left,
trust me, you probably need
less than you think...
Stick down yourfodder layer with a
glue stick.
Place some very thin
paper text. Adhere using
a wet glue ( l iquid matte
medium) overlapping some
of your previous layer.
The wet glue wi ll react ivate
the water based paint andthe colour will r ise up though
your text paper. If you are
light handed and careful, you
can create a beautiful edge
around your previous layer
- accentuated by the colour
change which naturally
shades the two pieces.
Tear up pieces of mu lber ry
paper and create a top border.
I used mulberry paper
that had gold squares
embedded in the paper.
Let the fibres of the torn edges
guide you along the edge.
I used white to create
the impression of clouds.
Put on Chill Music, relax
and daydream whilst you
work and you will start
to feel the painting.
h t t p : / / w w w .
w o r q x . c o m/c o l x q o r /c o l o r _w h e e l . h t m
Use a neutral colour that
works with your chosen
colour pallette.
less is more
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So, to recap,I picked a colour,(which dictated the
complimenta ry colour). I
then calculated the
right amount ofjourna l fodderto use and arranged it on the
pages. Next I picked out a
piece of textwith a highlighted set
of words referring to
the oblivious sky, and
picked out text that twice
refers to grave clothes.
I have a heavy inked area
that I want to cover with
a Sarah face. It was fromthe apparent randomness
that I consciously decided
a journal theme I wanted
to explore. So on the
left page I applied a text
page that is coloured
blue with the pertintnet
text highlighted. The two
phrases had emerged:
the oblivious skyand grave clothes.
From this pont onwards
my work becomes more
focused and planned.
I used the Sarah face
on this journal spread
to represent her as a
sky dwelling angel. I
attached the popout origami hatupside down for the
butterf l ies to emerge out
of the page. The crown
I put in her forehead in
the thrid eye position. I
created her hair from
torn pieces ofmulberry paper,symbolic of clouds.
Al lowing the edges to
be lifted and rough togive texture. My basics
are in place, and as I
add more detail,I m also thinking about the
meaning and symbolism
of this piece. Through
imagery I was able to
think without sadness
of a couple of memories
I shared with family
soon after we let Sarah
go that last day in ICU.
My emotions were of
peace and acceptance
as well as grief
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At this point you may
consider your work to
be finished, it is okay
to leave the pages open and
forget about the journal for a
short or long time becuase
it needs to dry throughly.
But you really are not yet
f inished. It is this tipping point
where people stop for fear of
ruining something they li ke,
you must deal with this fear
and do it anyway or your
art wil l NEVER improve, use
there will be times when the
next stages might not work,
but you will learn how todetermine a better stop point
by trying.
refineNEVERFO
RGETTO
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R efining and gettingdetail into your pagesis important, youare looking to enhance your
theme. It is these final details
that will make a good piece
great. I used a flower mask
at hte start, so I chose a
flower stamp to compliment
theme - repetition of themes
integrates the page. If you
choose an unrelated stamp
you will create chaos. (Which
is okay too).
B utterf l ies work withflowers, so whenyou stamp intoyour journal try choosing a
relevant stamp. My opinion?
- for goodness sake, be
brave enough to break free
of the curls and swirls from
time to time. But be aware
curls and swirls work with
ANYTH ING so it is a good
starter stamp whilst you are
learning to be braver...
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Choose an ink that will be permanent
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C heck your work istotally totally dry, Pressblotting paper or kitchentissue onto your work. If any of
it sticks at all, or lifts colour or
moisture - your work is not dry,
I just leave it for a couple of
days at least. NEVER heat your
work - the papers will buckle and
the different layers will seperate
because you have stuck together
paper of different weights.Once
dry, the beauty of the face can
be enhanced by going over the
features using pens, crayons,
pencils, inks and so on. You can
really have a wonderful hour or
two detail ing the face. I use allkinds of pens and ink types,
Experiment on projects so you
understand which ones to use to
smudge, and which ones to use
when you want waterproofing
propertie s. You will want both
types for different purposes.
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DRAWAfterStam
ping:
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B e gentle when you detail theface. Mine is printed on epsonheavy matte photo paper. It cantake the abrasive action of pencil, if youused thin paper you might tear your
image.
I f you do not know how to shade thencopy my shadows and highlights.Learn to look for the highlights andshadows whenever you look at people
and objects. This mouth has ten
shades of colour from light to dark
giving her the best fish pout ever...
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C
an you see the
difference in the
unaltered face?
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How willanyoneknow mystories if Inever tell
them?
This is mystory, this
is my song.
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Th is face is copyright
Donna Louise Rodgers
You have my pe rmissi on to pr in t
this page and use the image for
your personal journall ing.
You must not make copi es for
anyone else (but you can direct
them to my eZine for a copy of
their own).
You MUST NOT use th is image,
or the eZine, for your own
commercial gain. To do so would
be a shameful act of stealing,and il legal.
You must credi t my work when
you use it to develop your own
work.
If you want to learn to paint and
draw stylized pretty faces for fun,
or if you want to go on to makemoney out of it: I recommend the
Suzi Blu on line classes.
http://suziblu.ning.com/
Be original, Sell Original/
Copies are boring. and copy
cats are too.
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Accreditation:suziblu
http://suziblu.ning.com
M y addiction to faces andjourna ls began when my Manbought me the Goddess andPoet Suzi Blu course as a Christmas
present (still available on dvd).
My personal experience of
being part of a group of
artists in a li ve active Suzi
class was totally positive. I met on
line artists that I am stil l in touch with.
Bought their artwork, which now hangs
on my walls, and gained the confidence
to develop my own art. I am deeply
flattered that Suzi told me a copy of my
red face (left) hangs on her wall (I sent
it over as a thank you for all she taughtme). I highly recommend on line classes
if you cannot get to an in the flesh
vers ion. I keep hoping Suzi wi ll come
over to the UK and do some in person
classes, she is so inspiring and original.
http://suziblu.typepad.com/a_lovely_
dream/2013/01/paint-chronicle.html
http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.ning.com/http://suziblu.typepad.com/a_lovely_dream/2013/01/paint-chronicle.htmlhttp://suziblu.typepad.com/a_lovely_dream/2013/01/paint-chronicle.htmlhttp://suziblu.typepad.com/a_lovely_dream/2013/01/paint-chronicle.htmlhttp://suziblu.typepad.com/a_lovely_dream/2013/01/paint-chronicle.htmlhttp://suziblu.ning.com/ -
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A message di rec t from Suzi:
If you know someone interested in
signing up for Paint & Chronicle,
please note:
We are in the process of working
on opening up a new Paint &
Chronicle room by March first.Unlike the current room, it wil l only
contain three months of class
material, and will *not* include
access to any prior material.
If you are already in Paint &
Chronicle, there is no need for
you to sign up for the new room,
since it wil l include the same
course material that you will be
getting already in the current
room.
Vi si t Suzi Blus Gypsy Ar t School
at : http://suz ib lu.ning.com
Now I know this image is fuzzy
so get over to the web site to see
Suzi Faces in their full glory.
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S o to cover the messy labels Igessod the drawers and used anink pad to add a bit of colour Aquick and simple makeover that takes justthirty minutes. Only Isti l l have no idea what is in the
drawers!
Icannot always rememberwhat my drawers contain, so Ilabel the drawers, then I movethings. The labels get messy.
OVERCOME STASH CHAOS SYNDROME
CAUSE YOURSELF STRESS?
EVERLOSTANYTHING?OFTENHAVETOTIDY?
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masking tape is a simple and easy way to write your drawer content labels, the couloured ones are AWEsomeit is easy to change the label if you are giving things a temporary space - until you finally put things in their place
do it because you will then spend more time making and less time looking for your makings...
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end
L A B E L I N G
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type your drawer labels onto sticky back canvas using a typewriter....
OR
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a tidy space feels open,a mess closes you down
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Use window storageso you can see whatis inside withoutthe need for labels
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c l e a nt i d ya n ds h i n y
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sometimes if I am not careful I forget to
clean my brushes which as we all know
produces a very expensive stick
repurpose them as
ribbonholders
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Th is is not chaos; it is st rateg ical ly placed items that provi de a drying space for recentl y comple ted journal pages...
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Lino
Mono
33 hand carved handsh a n d s
hand carved hands
hand carved hands
h a n d s
hand carved hands
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this link (http://www.adonnathing.com/doings-of-doone-blog/2013/1/19/class-2-ice-resin-with-susan-lenart-kazmer) shows you how to
make the leaves. I also understand there may be a number of courses in the UK this year run by the Ice Resin team and that
indigo blu are going to distribute ice resin in the UK.
http://www.adonnathing.com/doings-of-doone-blog/2013/1/19/class-2-ice-resin-with-susan-lenart-kazmerhttp://www.adonnathing.com/doings-of-doone-blog/2013/1/19/class-2-ice-resin-with-susan-lenart-kazmer -
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SUSAN LENART
KAZMER INSPIREDALTERED FRAME
WORKINGS
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CaliforniaN ImAgery
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and
goodnight
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