I really love Jonathan Weiner‘s paintings. They seem to tell mysterious stories about shady individuals in a slightly menacing way. They all seem to be waiting for something to go wrong.
I really love Jonathan Weiner‘s paintings. They seem to tell mysterious stories about shady individuals in a slightly menacing way. They all seem to be waiting for something to go wrong.
More specifically… a YARN bomb!
The peeps responsible for this work of unexpected beauty are the Twilight Taggers, a yarn bombing group working guerilla style to pretty up our city.
They’re doing an installation at Fed Square for International Yarn Bombing Day and the Lights in Winter festival in June that both YOU and ME can be a part of! How fun! I’m going to Riot Art this afternoon to get some wool to contribute.
You can help with the frame, the poles, the lanterns or the snowflakes here. They also need wool winders for all their free wool!
Here’s a picture of the chandelier:
This is going to be so cool. How awesome would it feel to point at a part of this massive structure and say “hey, I did that!” (and even if you can’t find your bit you can point at someone else’s and say that was yours. They’ll never know the difference!).
So off you trot. Go grab those knitting needles!
I feel kind of horrible for beheading this poor giraffe, but I drew the body (in charcoal) before I realised I was a tad too short- even standing on a chair stacked with Yellow Pages- to reach where his head should be. Whups.
I got the idea from this artist:
Charlotte Mann via The Jealous Curator. I’m jealous too. I was going to do the whole wall but I haven’t gotten around to it and I’m not sure if I ever really will. The giraffe is enough for now, though I will eventually have to rustle up a ladder and give him a face…
Like this guy:
I did this etching of my friend, Gabby, in year 12 art. It was one of my final pieces. Looking at it now, she kind of reminds me of Lewis Carroll’s Alice. They are both little and blond.
It is, as I said, an etching on watercolour paper + watercolour paint. I soaked the pages in water and painted on the colour with a broad brush. I tried not to think too much about shape or figure when I painted it, and matched each etching to each piece after it dried by what felt right. Then I ran it through the printing press.
These etchings were so easy to do; I used acetate and a sharp linocutting tool, a process called drypoint. The awesome thing about drypoint on acetate is you can sticky tape a photo underneath and trace the lines, shading in dark spots. Is that cheating? Maybe… who cares when the results are this good!
The only thing with this process is you probably need a proper printing press. When you’re ready to print, you slather the page in this thick block printing ink with a spatula-like surface, making sure you cover all the lines. Then, using paper towel, you scrub the ink away until there’s none on the space around the figures, and no excess in the lines. Place it (carefully, carefully!) on the paper, sandwich it with two more pieces of paper, and run it through the press. I’m not sure if you could do the same thing with a kitchen dough roller, the page might move around too much.
If I redid these, I would crosshatch in the shadows. Otherwise, I still think they’re pretty lovely (most of my artworks don’t stand the test of time; I start thinking they’re shit a few weeks after completion).
There was some sort of order. And I’m missing one of just Christopher (that’s the boy).
The last is my favourite… back down the rabbit hole.