Mark Making And Drawing With Masking Fluid in Abstract Mixed Media

West Hartford Art League student Jeudi Carr.   

West Hartford Art League student Jeudi Carr.

 

How many of us buy art supplies that we put on a shelf or forget about? That is the sorry outcome of what happened to my bottle of  Masking fluid....it was neglected after i bought it on a whim one day.. Then a few weeks ago one of my students brought a bottle of Masking fluid to class. She essentially "drew" with this rubber cement like product  and then peeled the dried fluid off the paper leaving areas that remained white instead of painted. The fluid is very easy to work with and can be applied in numerous ways from pouring, dribbling or brushing onto work. The results were exciting and I now feel quite confident that I too will soon join the club of artists who use Masking fluid as a resist in Mixed media artwork. My bottle of Masking fluid will soon be cracked open and loved instead of abandoned.

 

 

"The Art of Mark Making in Abstract Art": New Facebook Group

My new Facebook group "The Art Of Mark Making in Abstract Art" is up and running and becoming a popular online meeting place for artists who work in all types of media. Mark making was very much associated with Abstract Expressionists who flourished during the 1950s and were also called Action painters. Moving away from Representational art,  Abstract Expressionists were more interested in the immediacy of the work, foregoing careful planning and deliberate sketches and delighting in accidental outcomes and spontaneity. Gestural strokes, dripping paint, accidental marks and outcomes, unconventional painting and drawing tools were all part of the Abstract Expressionist's approach to making art. In the new Facebook group I started, artists from all over the world are posting examples of their work, announcements about shows, relevant articles and more.  Just like the work, this is a very dynamic group worth joining.  Here is the link to the new group The Art of Mark Making in Abstract Art.  www.facebook.com/groups/1770476956535168/

Artistic Intuition: When to Crop and When To Resolve a Piece As A Whole

When I am making Mixed Media artwork I like to keep a pre-cut Mat "window" nearby to help me isolate parts of my work in progress that may actually be more exciting than if I kept the "whole" piece intact. I have been criticized for giving up too soon on "resolving" a whole piece and I understand that comment. I even at times feel a little guilty for reaching for my mat window, but I also appreciate that I respect my visual eye and if cropping is what is called for....that is what my artistic intuition tells me. Some guidelines that I use when I am making this decision to crop or cut up a piece of work is does the section I have highlighted show more composition integrity and or excitement than the piece as a whole? Sometimes eliminating "noise" or complexity is helpful. Are the color relationships keener in the smaller section chosen?  Do I get more drama, serenity, mystery, movement etc. in the portion of the artwork that I have chosen to feature. These are some ways to think about should you crop or not.    

Random Acts of Color Opening Reception, December 11, 2016, 2-4, Chase Family Gallery at Mandell JCC, West Hartford, CT

Random Acts of Color
Contemporary Abstract Mixed Media
C. Dianne Zweig

Inspired by 1950's colors, shapes, and designs, “Random Acts of Color" features C. Dianne Zweig's Contemporary Mixed Media abstracts which are anything but "random" as Dianne playfully re-works Mid-Century style for today's collector.  You will find almost 50 works of art on display assembled in Dianne's first Solo Show. This playful collection showcases Dianne's bold use of color and Mark making.  

Opening Reception with the artist: 
Sunday, December 11, 2016
2:00–4:00pm

Gallery Exhibit:
December 4, 2016 – January 15, 2017

For more information visit: JCC 860-231-4571

 

C. Dianne Zweig: Contemporary Abstract Art at Open Studio Hartford November 12-13, Arbor Arts Center, Hartford, CT

 I love Hartford, I love the rhythms, the mix of people of different backgrounds, the energy of the Arts community and my amazing new studio at The Arbor Arts Center which is the same building as Real Art Ways. This weekend (November 12-13) is Open Studio Hartford and my new studio, suite 220 will be open for the first time to the public. Just to keep you up to date, I still have my Mid Century vibe going on and I am still working in my usual 1950s colors ...more or less.

What is new in my 56 Arbor Street studio, besides the sink which is still white and not yet covered with paint or my shiny gorgeous restored hardwood floors which are not yet smothered in splattered paint is my decision to keep my studio a workspace and not a gallery. My fantastic TALL white walls are now reserved for work in progress. Therefore.....I need to move many of my earlier Abstract Mixed Media pieces out the door....time to let go.  While I am resisting calling this a "sale"....guess what it is a SALE ! Out with the old, in with the new. http://openstudiohartford.com/artists?artistID=792

Other news to report is that my friend Ginny August a very wonderful potter will be exhibiting her functional and decorative pottery in my studio.  Ginny has great gifts for the holiday season. 

 

 

 

 

 

 

 

 

 

 

Applying Paint By Rolling The Handle of a Paint Brush Across An Abstract Mixed Media Piece

Mixed Media artists are always using their tools in quirky ways. While the average painter holds their brush upright choosing to paint with the bristles of the brush, others have learned to get very interesting applications by using their brush handle as a roller or brayer, spreading the paint across the paper in accidental and blotting types of layering. Thank you to Peter Ganick for demonstrating this lovely technique during an exercise on Visual poetry.

Mark Making With A Small Remnant of Woven Chair Caning

 In a recent class I taught at The West Hartford art League on making your own mark making tools, one of my students took a small piece of woven chair caning and attached it to a chop stick with tape and dipped the small remnant of caning into black ink and created these wonderful marks on paper. The trick is to pivot the caning in many directions to get a variety of varied black lines. For more information on upcoming workshops and classes, visit http://www.cdiannezweig.com/workshops/

Let Loose With Collage & Mixed Media: Spring Workshops at Dick Blick, Plainville, CT

UPCOMING SPRING CLASSES

Contemporary Mixed Media-Collage at Dick Blick Plainville CT.  MAY 2016

Let Loose With Collage & Mixed Media: Leave your inner critic home and join others in the art of creating Mixed Media artwork and collages using painted papers, print making techniques, textures, mark making, dry and wet media.  Emphasis on helping students “loosen up” and work more spontaneously with a variety of art materials and products. All levels of students welcomed.  Day/Time: 4 sessions on Wednesdays 1:00 - 3:00, May 4,11,18, 25. Fee $120.00.

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Material List

The beauty of Mixed Media collage is that you can use every thing and the kitchen sink  in the process of making art. While I have my favorite products, you are welcome  to bring to class what you already have and to build materials and supplies as you discover new ideas. My favorite essential materials are Canson Drawing paper ()or similar) in a gummed pad (any size works); Acrylic paint; brushes of different sizes; Sharpie Markers; Crayons; oil pastels. Other materials to collect and bring include products that can make textures such as mesh bags from onions, bubble wrap, corrugated  brown packing paper that have different kinds of ridges, wallpaper that has raised texture, combs, inserts from candy boxes that have patterns and interesting surfaces etc. BTW, I also smear paint with old glossy post cards or card board that i fold to size. We will discuss adhesives in the first class.  http://www.cdiannezweig.com/workshops/

The Aftermath of The Painting Storm: A Mixed Media Blessing

Right now I am in my studio struggling with a HUGE painting I am working on. I'm out of my comfort zone and wondering just how many layers of paint this piece can take before the painting weeps in agony. (Or maybe it is just me weeping in agony). The ability to stick with a project through thick and thin (no pun intended) took me years to learn. At certain points I have actually "attacked" my painting in a frenzy of heightened frustration. After all, if you are at your wits end, why not go ahead and "ruin it" ! Interestingly enough, some great things happen after these painting storms. The splashes of paint, the drips, the bold strokes seem to add just the right touches to reawaken a piece that was previously viewed as hopeless and that we wonder if we should kiss goodbye.