chaos #2 free version

7/29/2019 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
http://collabor-art.blogspot.co.uk/http://collabor-art.blogspot.co.uk/


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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...
http://www.adonnathing.com/http://www.adonnathing.com/


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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:

[email protected]

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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mailto:[email protected]:[email protected]


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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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http://www.color-wheel-artist.com/primary-colors.htmlhttp://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.
http://suziblu.ning.com/http://suziblu.ning.com/


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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.
http://suziblu.ning.com/http://suziblu.ning.com/


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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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www.adonnathing.com

and

goodnight

THANKYOU
http://www.adonnathing.com/http://www.adonnathing.com/

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