Over the years I have also built up a small collection of vintage sheet music - some with tattered and torn edges, some showing the yellowing of time, some with hand written notes from students working through a challenging piece. As this collection built, so did the (completely separate) conviction that I wanted to do an art piece with a simple design - a dove - but fairly large in execution. In the course of three years, I began a dove piece at least four times and each time it became something completely different. (Completely!)
But finally, the concept and the vision meshed. And I began what was for me a very experimental piece. I had not worked with paper on canvas before but that was the combination I wanted to try.
I began by base coating a 36" x 48" gallery wrapped canvas in Windsor & Newton's Windsor Blue acrylic paint with a small foam roller. It took three heavy layers to get the depth and evenness of color that I wanted but I was thrilled with the result. I wanted a rich blue that brought to mind deep evening skies where the stars only begin to glimmer against its velvet depth. (The picture is coat one - see the problem?)
Then I began on the dove. It took many tries to find the shape I wanted for this dove. It had to be simple enough to be able to cut individual segments but complex enough to give the idea of feathers in upward flight. When I finally arrived at the form I wanted, I printed it out to size (piecing my paper templates together) and traced each segment onto tracing paper, allowing extra at the "base" of each feather for overlap. It took some mental gymnastics to be sure which pieces would be front and back, but eventually I had them cut and labelled to help me put them back together in the right order.
Next, I went through my sheet music and found the piece I wanted. It had to have enough pages to do the complete dove, had to have the beautiful warmth of aged paper, and I wanted it to somehow suit my feeling for the piece. I found the music I wanted in an 1880 printing of Pastoral Sonate by Joseph Rheinberger Opus 88. Each pattern piece was traced out with an eye to direction and it's placement, then cut with an Exacto knife.
When the pieces were all cut, they were assembled on top of my drawing to be sure all pieces were properly in position and that they still kept a sense of harmony when assembled. (I actually recut three pieces because the more complex passages made those pieces look too dark and too heavy for the position I had placed them.)
Once I was happy with the layout, the final step to prepare each piece was to edge each one with a burnt umber Prismacolor NuPastel pastel stick and blend the pastel along to edge with either my fingertip or a kneaded eraser. This created a shaded edge that would keep each piece defined when they were assembled into the final image.
Then it was time to begin assembling the dove. I laid a piece of parchment paper over my template to help with positioning and then brushed Yes paste on the back of each overlap section before laying it in place. I worked the tail feathers, then the wing in rows (bottom to top) before attaching them to the body and back wing. The parchment paper let the whole thing peel away cleanly when the pieces had dried.
At this stage, I was concerned about how a varnish would affect the pastel shading or the inks of the sheet music. I didn't want it to smear under a liquid varnish, so at this stage I sprayed the entire dove with Prismacolor workable fixative. (A spray varnish might also have been an option at this point, but I was working with what I had on hand.) Let me say here that this was probably the riskiest part of the whole experiment. I did not know if the varnish would even hold over a fixative but it was a chance I felt I had to take to protect the dove. I applied several thin coats of fixative to be sure the surface was completely sealed.
Finally, it was time to get back to my canvas. Because it was such a simple composition, I wanted some detailing to add visual interest and balance. My choice was to add "rays" of light in Liquitex metallic acrylic paint - gold, silver and bronze. To apply the paint in as straight a line as possible, I pulled a length of quilting thread through the paint, then stretched it across the canvas, keeping a contact point constant in the upper right corner. (Actually, because of the size of the canvas, a family member helped me hold and position the string across the canvas before we lowered it to the surface. We found that we got a better application by sliding the thread 1/4" along our line once we had touched down.) I did not want them to be completely solid lines so if the thread slid through the paint dollop rather unevenly, I wasn't concerned. A couple small spots had to be retouched with an 18/0 liner, and I later adjusted some of these lines once the dove was applied so that they were not in direct contact with the dove body in ways that might create a visual distraction. I did, though, let a couple of the lines hit the canvas edge.
(My "pull" station.)
To finish this piece, I used Liquitex gloss varnish and again applied several layers with a small foam roller. The varnish did hold very well over the fixative although it also did seep under the paper edges in a few spots. I really liked the additional effect of age that created though.
As an experiment I was very, very happy with the way this piece turned out and have plans to do several more with the same technique. The final piece can be view here in my Etsy store.
(I'm also rather excited to say that this piece is eligible for "Painting of the Year 2011" though SOSA, a local organization for visual artists that I've been part of for several years.)
