My interest in gemstones was sparked during a trip to see The Hope Diamond when it was introduced into the Smithsonian Museum of Natural History in 1958. My Mother bravely packed her station wagon with Brownie Scouts, and we joined the mobs who lined up to see it. We snaked through the museum through the Hall of Gems, which was filled with what appears in bodice-ripper fiction as “dripping with pearls.” Inspiring and breathtaking.
But ever-so-slightly disappointing. It was billed to the public and to my tiny 8-year-old brain as the largest blue diamond in captivity. Not knowing that the key word was blue, I expected to find a diamond the size of a softball. To my immense disappointment, it appeared to be the size of a quarter.
I missed the career off-ramp to “gemstone cutter,” and now that I’m hewing to my 65th birthday vow of avoiding activities requiring safety equipment or liability waivers, there will be no glass cutting, tile cutting, bungee jumping, and now, no gemstone cutting.
Whimsical wildlife documentarian paints gemstones
It is well within the purview of the Whimsical Wildlife Documentarian to paint gemstones and to apply a 2019 version of Painstaking Exuberance. I have paintbrushes, and I am not afraid to use them.
Multiple advantages of painting whimsical gemstones:
No insurance penalty for using dangerous equipment: paint brushes, even the tiniest, are not lethal unless you are in obscure parts of mystery fiction.
No need to consider the Laws of Physics: I never took physics, so I can plead ignorance.
No need to consider colors that might not exist in nature: in my experience as an artist, nature’s color limitations are highly over-rated.
No need to be limited by cost or size: a real five-pound amethyst crystal would be outside my art supply budget, it would pain my arthritic hands, and diamonds and rubies are out of the question.
No fear of making a costly mistake: the ever-real possibility of dropping and breaking a valuable stone was always a deal breaker.
Celebrate the magic of watercolor with Northstar Watermedia Society’s members. Artists’ Market runs from May 19-21 at the Fine Arts Building at the Minnesota State Fairgrounds. Every artist begins with a tube or a block of paint. Every artist’s work is different. Come to be astonished. Enjoy free parking.
Learn how to add this feature to your work. On Sunday May 21 at noon, I will be present a demonstration focused on this feature of Golden High Flow Acrylics, and showing off the powerful colors of this line. I will also (again) thank Bonnie Cutts, our Golden Brand Artist in Residence, who reassured me that the fern feet were an actual feature of this paint that I’d picked up from a discount table at Dick Blick. I thought I’d gotten a bad bottle.
Paper Mosaic: Not Ceramic
The other part of my Sunday demonstration will be a step-by-step guide to creating mosaics from paper that look like ceramic tile. In my demo kit: gesso, watercolor and acrylic paints and mediums, TerraSkin, Golden Self-Leveling Clear Gel, offset spatula, scissors, and a heavy dose of imagination.
Multi-colored antlers did not appear in a fevered dream. Rather, in late April, I began a deep dive into Golden High Flow Acrylic which became Multi-colored Antlers.
High Flow is is magical paint that makes my favorite effect — fern feet (above) — and it has a double-plus-fabulous bonus of providing beautiful, clear colors that work as paint-from-a-brush, in markers, as a glaze, and anything you might imagine.
Happy to announce that Celebration!, an original acrylic painting, will be in the 2016 Saint Paul Carnival Fire & Ice Show. Thus, I’m able to end the otherwise troubling and weird 2016 with good news and to begin 2017 with “Celebration!”
How was it made? How did this happen?
Thanks go to the Fabulous Bonnie Cutts, who confirmed that a-bought-from-a-sale-table bottle of Golden High Flow Acrylics really was supposed to make little fern fronds. Although the effect was cool, I’d never seen it before, and, typical of me, thought it might be defective. Not so. The fern-fronds are a signature of High Flow Acrylic.
I covered four 5×7 and one 12×16 boards with white gesso, and dropped High Flow colors while the gesso was still wet. Watching it make patterns was like watching a series of tiny miracles. No microscopes needed.
I waited until the gesso was dry, dabbed some Golden Glass Bead Gel onto the boards, and waited for that to dry. I covered each board with Golden Self-Leveling Clear Gel and let that dry. With my handy tube of that most superior of adhesives, E-6000, I glued the four small boards to the big one. The frame — shiny red, and who doesn’t love shiny red? — came from Goodwill as plain dark wood. It got serious sanding and lots of coats of Gloss Sunrise Red Rust-oleum. A pint of shiny red paint goes a long way. The large board, popped into the frame in reverse, is held by shiny red clips.
Fire & Ice: Opening Reception January 21, 6-10 pm
To cap a very busy day (this is the day of the Women’s March on Minnesota), the Winter Carnival Art Show Opening Reception will be at the AZ Gallery, Saturday January 21 from 6 to 10 pm. Join us!