Handmade Books: stamping

Vegetable tanned leather is perfect for stamping and impressing images.  However, this needs to be done before the leather is dyed and sealed.

Let the leather soak in warm water until it is spongy.  Wipe off the excess water and let the leather sit for a few minutes, until the surface is no longer looks wet.

I have a celtic stamp set with several heads that snap onto a handle.  I photo shows a regular hammer, but you should use a hammer or maul designed for leather working.  Steel hammers will damage the tools.  Hold the design part of the stamp in place to reduce chatter (multiple impressions because the stamp moved).  Hit the handle hard several times.  You want to make sure the whole stamp image is impressed into the leather.

Let the leather dry completely before dying.  

Wipe the dye over the leather except for the stamped area.  Once the color is even, lightly wipe the dye over the stamped area.  The image stands out best if the impressed area is either lighter or darker then the rest of the leather.  The more you work it the more even the stamped area's color will be.  For more precise control, use a Testors micro sponge hobby brush to touch up and darken small area around the stamped image.

 

Sketching in Maine

In the Spring we made plans for a fishing trip to Montana.  We would be staying in a National Forest Service cabin in the back woods near a favorite creek.  Then the fires came.  We watched the fire and weather reports as the wildfires drew nearer and nearer to the area we were planning to stay.  People were evacuated and roads were closing as the wild fires raged.  Fire fighters were fighting fires all throughout the west.  Smoke from the fires we effecting the air quality throughout the west.  We would not be going to Montana.

Instead we went to Maine.  We stayed at a lovely cottage on Little Deer Isl.  We could see the water from the cottage, and ate several dinners on the porch watching fiery sunsets.

Sunrises and sunsets like these call out to be painted.  Capturing the constantly changing colors and deep shadows before they vanish is a challenge.  Luckily I was given several opportunities to try.

Maine's rocky coast is filled with bays, inlets and small islands.  It was a perfect place to spend time exploring and hunting for lighthouses.  We visited Stonington on nearby Deer Island several times, enjoying local good seafood.  We also took a cruise from Stonington out to the Isle au Haut to see the unique Robinson Point Light house.  We spent a day at Acadia National Park; hiking Cadillac mountain, driving along the park loop road and eating seafood in Bar Harbor.  We traveled along the coast north to West Quoddy Head Lighthouse.  This is the easternmost point of land in the continental United States, and around the equinoxes it is the first place sunlight touches.

I have many photos from this trip that someday will be used as references for paintings.  I did finish three watercolor sketches while we were in Maine.  Besides the sunset above, I sketched some garden flowers and a also a beach scene.

At the edge of the forest

For my final painting I used a photo I had previously taken of a small rock building at JCCFS.  I love the multicolored rocks in the building and the contrast of the shadowed deep woods and open area around the building.  Part of the class discussion, was about narrative.  How do we convey a story through our paintings.  This painting tells a story of living on the edge; between the beauty and unknown of the deep green forest and the structured world humans construct.

To create the deep green shadowed forest. I masked the trees on the forest edge.  I used a small masking fluid container that had a thin tube applicator, which I thought would make it easier to apply.  But it wasn't as easy as I expected.  The tree trunks were large and I needed to use a masking brush to cover them effectively.  The branches were smaller, but where the branches and trunks met I had problems controlling the fluid, causing blobs.  This was the first time I had used this type of masking application.  In retrospect I should have done some testing and had a well thought out plan for my application.

After the masking was completely dry, I wet the paper and used saturated pigments to create the vibrant dark green depths and light in the forest.  While the paper was still wet I used the side of a credit card to scratch in branches.  Scratching the wet paper let the pigments penetrate and create dark lines.  This worked very well, but next time I will try to vary the size of the scratches to imitate the change in branch size more accurately.

I carefully removed any excess paint from the masked areas.  This is an important step to keep unwanted pigment from accidentally getting on other parts of the painting.  I proceeded to paint the light green lawn and rock house in the foreground.  I enjoyed painting the multicolored rocks and distressed wood of the shed.

Now It was now time to remove the masking fluid and paint the trees.  Once the trees were painted I added in darker shadows on the lawn and rock house.  The final addition was the red bird house at the upper left.  The addition of that bird house changes the feel of the painting.