The making of an editorial still-life

As most posts require the accompaniment of images, either for demonstration or simply enhancement to ones words, achieving that photograph can be a work of art in itself. With the recent post to a Cats Golden Years, an image was needed to illustrate several of my notebooks being used for the Family Secrets Revisited project.

It may seem like a straight forward assignment to take a photograph of a notebook, but to make it more interesting, means creating an environment that not only looks real, but also feels natural.

Image shows two fill-cards to bounce light back onto the set

Apart from pulling together the elements and background props with which to compose a mini set, a stage that not only re-creates a personal environment, but also evokes an emotion, a mood in the visiting viewer, thereby bridging the authors words with the reader/visitor.

The following several photographs show a set assembled on a large table near a window with northern light exposure, as this has become my favorite method of photographing, even though I have studio flash lighting equipment.

Whenever I need a still-life type photograph, I approach the project the same way as if I were painting a scene, setting up first the easel to establish a point of view. In photography, I use a tripod with which to set up my point of view. While using the camera’s view finder, I begin placing the elements on the table, adding, removing, putting back into the frame an element, building the set.

During the first phase of building the set, I will also be fine tuning the tripods position, height and angle to achieve the desired composition, while in phase two the main focus is in building the set and how it appears through the viewfinder.

An open case for reading glasses on the lower left side, helps to keep upright the cover

of a book acting as a gobo to block of window light from a portion of the set

Phase three is controlling and adjusting the lighting, using a gobo to block of any light where it is not wanted and using a fill card or a reflector to add more light back into the set, making shadows not only lighter but also more gradual, while giving a little punch of light to other areas.

When you think you have everything in place, we enter phase four. It is now time to take several different exposures, some that are normal and a little over, including varying the ƒ-stop to change the focal point of the photograph.

Since having added the iPhone 4S smartphone’s camera to my arsenal for taking pictures, the Nikon D70 is still my main workhorse, the iPhone 4S allows me to do things with ease, especially experiment with different angles and points of view in tight surroundings, as is evident in these images here. 

          

Alternative I — iPhone camera                          Alternative II — iPhone camera

Phase five is editing the selection of images to a handful and optimizing their appearance in programs like PhotoShop and making our final selection. The final process can be the most difficult, as I finally settled for the Nikon version, though I prefer the iPhone's iPhoneography image. In the end, one needs to approach the selection process from an editor’s editorial point of view.

Editorial version — Nikon camera

My favorite version — iPhone camera

It was a close, gut wrenching call between the two.

Thank you for your visit

and comment . . .

Egmont

An evening with artist Mira M White

This last Monday, the El Cerrito Art Association had its first meeting for the new year. We hosted guest artist Mira White demonstrated her painting technique to a pact crowd, revealing the many stages her paintings undergoing.

ECCA membership and guest

Mira M White

Her painting process is more meditative and intuitive then predictable, as she states “I have to be able to take a journey with my work.” Her work evolves over time, sometimes as much as four year before a painting is considered complete.

Influenced by Eastern philosophy, Mira has developed a number of visual symbols, which are found in many of her paintings that build on a very personal mythology. After a trip to Europe a few years back, she was captivated by the many clusters of small villages and their houses, that it also has become part of her visual symbolism.

          

In addition to the symbol of homes, there are ladders, square and triangles, which establish a personal the language, reflecting her mythology, all of which is transformed and accomplished through the many layers a painting goes through. There  are as many as fifteen to twenty or more layers, in which Mira combines numerous medium technique. Each layer a subtle expression of her thoughts.

          

Her primary medium is combining watercolor and pastels, including acrylic, oil sticks and graphite powder, and possible offset with collage material. Apart from using multiple mediums to layer her work, Mira also employs various techniques with which she applies her medium and always searching for different methods with which to work. 

Mira answering a members question

Currently she has been expanding her visual expressions by experimenting with encaustic painting, exploring her visual mythology by translating it in a new medium.

For further information and classes you can visit her website.

Thank you for your visit

and comment . . .

Egmont

Elegance and Simplicity

In my last post I shared with you the development of a textured surface made created from paper that would be painted using acrylic and/or oils and now I would like to provide some samples of 5 x 5 inch study paintings in which you can see the results that can achieved.

All the paintings in this post, I used acrylic paints, except for one, were I used spray paint on a portion of the canvas. Some of the canvases had a portion of there surface area painted not with a brush, but applying a technique used by etchers preparing their plates for printing, by wiping off the ink, including using either a cloth or paper towel to remove some paint, only to use it also like a rubber stamp. This allows for the paint that was removed to be transferred back in a different area and by only covering the top surface, it leaves the crevasses untouched.

We can faintly see this method of transfer of off-white paint having been used on the larger area of the canvas to finish the painting. While a more dramatic effects are aimed for in the next sample by using brush and the etching method of cleaning ones plate.

The etcher’s method is when one uses either the edge of ones palm to wipe the surface of the copper plate and remove the excess ink. By using the side palm of ones hand, paper towel or a piece of soft cloths shaped in a ball and then carefully wiping the surface of the canvas and removing the wet acrylic paint so that it only portions remains in the crevasses of the papers textures. This can be clearly seen in the image above, were multiple colors remain scattered randomly about, building numerous layers of color amidst the texture.

The following painting uses a number of different combinations. First the right portion is sealed with painters tape so that I can brush the color yellow, followed by orange that is wiped off. However next I add a little orange acrylic directly to a ball of cloth and then with the same motion of removing paint from the surface, I am now striking the raised ridges of the paper texture and leaving behind concentrated amounts of random color.

Ones this portion of the painting is completely dried—I usually wait a full day—this area is taped off to protect the surface from the other area being worked.

Now instead of using brush or cloth subtract or transfer method, I employ spray paint, containing a fine texture to emulate a particular surface of stone. It was first given a light pass before a second one to firmly cover the area evenly with paint and texture.

Study for Elegance and Simplicity

Upon the completion of this study, I fell in love with the limited color selection and how the paper’s texture reacted to it that I would have to attempt a larger size painting. Doing so would also reveal how the idea on a much smaller canvas translates to a larger medium size one.

Elegance and Simplicity, close-up

On a technical note, the upper left area was first worked, meaning that the rest of the canvas was covered to protect the area. Instead of painting the exposed section, I applied some paint to the cloth and using the etcher’s method in reverse by applying the paint. However at the same time I also wiped the section clean. 

Using this technique, permitted me to color softy the paper, while at the same time leaving ample amount of paint against the raised ridges of the papers texture. This process was repeated several times until the desired visual effect was achieved.

Elegance and Simplicity, MM/C

After a few days the section just completed was covered and work on the opposite side began. One would think it were easier since it was black, but after three coats of acrylic paint, there was enough variation to balance the two sections.

The last area to be painted was the grey. This area too required several coats of paint before evenness and the loss of paint brush tracks disappeared. Several weeks later the painted was sealed with a matt varnish.

In the end, this painting was presented to my son for his twenty-third birthday.

Thank you for your visit

and comment . . .

Egmont

What is new for 2012

It seems my creativity has taken a long silent absence, in part due to the holidays, but now that they it is over with the year end celebrations, it is time to go back to work.

This is where I left off just before Thanksgiving —

Third 20 x 20 inch unpainted canvas in a new series for 2012

Every artist seeks to define themselves through style and materials employed in their work and I am no different and while the last six years has produced a major body of photographic work being Typography Graveyard, I had been experimenting with different materials for painting. The main material source being modeling paste and paper, specifically newsprint, in order to create a distressed surfaces to paint on as well as a collage painting, as with Orderly Confusion or Beauty Re-defined.

The second half of last year was mostly spent focusing on developing texture using different kinds of paper since newsprint was limited to just a flat surface, then came a major break through with the painting White on White. This painting used paper grocery bags to achieve the desired texture and recaptured the desire first discovered with Symphony #3 The Nocturnal Suite, a painting that comes to life as the room light changes.

Trying to merge the concept of a canvas changing its appearance without being as overt as with White on White, while also going in two different directions, one that emulates Typography Graveyard, as well as a distinctive new look.

This has me cutting strips of Vellum Bristle drawing paper at different widths and lengths, then soaking it into a bowl of warm water, anywhere from thirty-seconds to two minutes. Once removed, excess water is wiped, then the paper is crumpled to the desired degree of texture before carefully unfolding and laying it out to dry or depending on the desired effect, applied damp to the canvas with medium gel. Just remember, one can also use a spray bottle, applying a fine mist to re-adjust a dried piece of paper into the desired position.

When applying the paper to the canvas, it is possible to blend the edges of the paper with those next to it for a smoother, almost seamless finish as pictured below.

First 20 x 20 inch unpainted canvas in this new series for 2012

After the paper pieces dry on the canvas, one can fill any gaps with regular medium gel or, depending on the desired texture, use heavy medium gel for better transition, since it will be painted over. The image below features more distinctive lines between the pieces, including a more overall rougher appearance, creating more distinctive shadows that will alter the paintings appearance with the changing room light once it is finished and displayed properly.

Second 20 x 20 inch unpainted canvas in this new series for 2012

With another four to five paintings planned, I am searching for ways to make each canvas stand out, while remaining homogenous to the series core and since I wish to build texture on texture. I am looking at including paper with a much rougher texture, one that is also softer and more applicable than the Vellum Bristle. To the rescue, egg container cartons, made from paper pulp.

Egg cartons, flattened and whole

Torn and flatten pieces of egg container cartons with a few pieces 

 that were flattened, soaked and air dried

I also have another piece of pre-formed paper form used in packaging I plan to use, along with purchasing pulp paper from an art store. However one must not forget that when using any wet paper products, they must be allowed to dry before sealing with medium gel, so that deterioration does not occur.

As this series continues, I continue to look at different ways to include other products into the mix of creating texture. Items as modeling paste, heavy medium gel, tissue paper and Golden Artist Colors product, fiber paste. Other items one might consider is crackle paste, fine pumice gel or for a little more texture, I have a collection of additives I have gathered and filtered for size constancy that would be mixed with medium gel before applying to the canvas.

In the coming months I will share with you further results from this series, along with other smaller projects being developed and some of the pieces completed from last year. In the meantime, I wish you all the best, including a creative and productive year.

Thank you for your visit

and comment . . .

Egmont

Holiday Wishes

With my son’s assistance,

our perfect christmas tree, a superior noble was found and finally decorated.

Now boxes were opened and from it is removed a wooden horse,

a big Santa, the Snowman family and other items

to bring the house into the holiday spirit.

I would like to wish you a wonderful holiday season

and the very best in the coming year

Peace be with you

Thank you for your visit

and comment . . .

Egmont

Thanksgiving Day wishes

To those who are hosting this years Thanksgiving Day event,

may everything go according to your plans and

that your home is filled with the laughter

of friends and family.

You, who are traveling, may your journey be safe

and your hearts filled with joy.

Now I am off to the kitchen

to do my magic.

Thank you for your visit

and comment . . .

Egmont

Egmont's Cranberry Salsa

For the last 14-16 years that I have been making it, the recipe has undergone an evolution from when it was first discovered in a Martha Stewart’s magazine. Over the years, numerous changes have been applied to it and now it has become more my recipe. With this years version, it may also just be my best, so I better write it down in order that I know or next year.

This salsa is not only good on Thanksgiving Day, but also later in the year on cold cuts instead of mayonnaise. I even had it today while it was cooking with tortilla rounds and it was delicious. Give it a try and let me know your thoughts on this.

Jars of cranberry salsa cooling

As with all recipes, we need to make adjustment to suit our tastes, so if you make adjustments that is all right with me, just remember to maintain proportions with the taste you are trying to achieve. Here is the recipe for making it:

The base: 

Tostitos chunky salsa - mild x1

Ocean Spray whole cranberry sause x2 

(Note: this year the can is 2 oz. smaller and the whole cranberries almost invisible when compared to the previous years.)

You can vary the quantities on the remaining ingredients but this is what I used this year: 

1 large or 2 small red onions, cut small

1 medium size onion, cut small

1 bunch (5 to a bunch) green onions, cut very fine

3 medium-large plump Roma tomatoes, diced

1 large red bell pepper, cut small

1 large lemon and lemon peel slivers, (roll lemon on the cutting board with some pressure to release the juices and oils  before cutting the skin into thin slivers which are then copped to 1/2” length

1/4 cup of sugar

1/2 cup of yellow raisins 

2 bunches of cilantro (if the bunch is small get 3, you want plenty) chop real fine

Optional: 

1 medium large orange, sliced and diced

1/4 − 1/2 cup pine nuts, whole

This is what I am going to try next year.

Cook all these at medium flame and when the center bubbles, reduce heat to medium-low, stir often so the bottom does not burn. Cook for one hour with the last 20 minutes on low.

Remember you can prepare this several days in advance and refrigerate. These extra days allow the flavors to merge. When serving, please remember to warm it up. Enjoy.

Thank you for your visit

and comment . . .

Egmont