Scribble Town (ST): From a distance what looks like a beautiful volcano of color and texture turns out to be an ingenious technique of rolled paper and paint. Amy Eisenfeld Genser has mastered the art of creating an organic effect by using mixed-media. Amy is also a mom of three sons from West Hartford, CT.  She says, “I’m a tad obsessed with paper and paint, color, patterns, and texture.”  You’ll soon see why!

Let’s start with, what does a day look like for you?

Amy Eisenfeld Genser (AEG): I am usually in my studio, on the third floor of my home. I work about five hours a day while my kids are in school. It is a juggling act. My typical day is to get the kids off to school, hit the gym for an hour, and then come home to work. Because my studio is in my home, it’s sometimes hard not to get “mess-tracted” as I call it (starting to do laundry, clean dishes, etc…) but having the studio on another floor helps. Going up the stairs is like crossing a threshold. I also listen to books on tape while I work. Time flies when I’m working on a piece and into a great story, but when I see the bus coming down my street at 3:45, my work day is over.

ST: I’ve never heard that term “mess-tracted” before, but I like it because I can completely relate to you! When you do get to your work, how would you define your art?  It seems to be a peaceful combination of craft and fine art.  I have never seen anything like it before.

AEG: I refer to it as mixed-media. I’ve been able to live in both the fine art and craft worlds. It’s nice to be welcome in both places.

ST: I can see how your artworks really settled nicely in the two worlds too. How did you discover this artistic process of paper quilling?  Was there somebody that encouraged you?

AEG: Technically, my process is not quilling – I will outline my process below. I first started experimenting with paper during a papermaking class while studying for my MFA in Graphic Design at RISD (Road Island School of Design). My professor Jan Baker encouraged us to test the limits of what paper can be.

River Run by Amy Genser

ST: Where do you find yourself feeling really inspired to create? On your website (About page) you mention, “The sources of my work are textures, patterns, and grids. I look for forms that can be repeated to create a pattern when they are joined.”  Please expand on that and if you have a story we’d love to hear it!

AEG: Most of my inspiration comes from nature because it is perfectly imperfect. I love all kinds of organic processes. They are visually intriguing and engaging. We spend a lot of our summers on the beach in Rhode Island. I love watching the water, the rocks, and the light. Our beach has rocks with these really neat barnacles and seaweed. Their colors are always changing. Sometimes there’s a lot of it, and sometimes just a little. It’s neat to watch the progression. One day when the seaweed was purple, brown, yellow and green, my husband made the awesome observation that nature never clashes. I love that.

Mineral Violet by Amy Eisenfeld Genser

In reference to my latest “mineral series”, I have always been drawn to gem-like colors. My mother is a jeweler who works with a lot of gemstones. I’ve grown up peering into tourmalines, garnet,diamonds, opals, citrine, etc. We always talk about how juicy and “lickable” the colors are. I have recently been looking at a lot of agate and geodes. The colors are simultaneously vibrant and translucent. Pretty amazing. I thought I’d take a stab at my own interpretation of them.

ST: So how do you turn your paper to look like gems, minerals, and other elements of life? What is the process?

AEG: Using Thai Unryu, I treat the paper almost as a pigment, layering colors one on top of the other to create different colors. My pieces are about a foot wide. Then I roll one layer on top of the other in all different thicknesses. I seal the roll with acid-free, archival glue stick, and then cut the long piece into sections with scissors or pruning shears. I have pruning shears of all different sizes to accommodate different widths.

ST: Wow! What a laboratory of processes! What forms of art do you include in your mixed-media paintings? What are some tools you like to use?

AEG: The actual rolling and cutting process is pretty quick. At this point I could pretty much do it in my sleep. It’s the composition/editing process that usually takes the longest. I paint my surface, either canvas or paper first, with acrylic and a lot of gel medium. Then I place my paper pieces on top and manipulate them until I have a satisfactory composition. It’s like putting a puzzle together, only I don’t know the final picture until I see it. I roll my pieces accordingly as I develop and build the piece. It’s a back-and-forth process. The paper and the piece lay on different tables in my studio. I attach the paper onto the canvas with PVA once I have the pieces where I want them.

Tall Tower by Amy Eisenfeld Genser

ST: Is there a song that moves you at the moment?  Perhaps you can place a song with one of your works.

AEG: I can place a piece with a book on tape – one of my favorite- Prince of Tides” by Pat Conroy. I usually listen to books on tape while I work. My head is usually in the story, and my hands are free to do what they need to do.

ST: The titles of your pieces are very revealing and help the viewer guide how they can look your work.  How do you come up with these titles?

AEG: Usually it had to do with the inspiration for the piece. I just look at the work and figure out a title. They always feel a little uncomfortable and arbitrary to me. It’s hard for me to give words to something that is visual.

ST: Amy, what’s a piece of advice you can give our Scribblers?

AEG: Have fun! Do what feels good. Keep your hands busy and the work will follow along. There’s nothing like getting rid of creative energy through using your hands. I was that kid who was always weaving potholders on the plastic loom and making complicated patterns in woven friendship bracelets.

ST: Thanks Amy for sharing so much with us! Amy has shared an activity for us to get started on our own artwork.  Check out Scribble Shop for more details:
http://www.scribbleshop.com/content/roll-it-your-wonder-amy-eisenfeld-genser

Portrait of Amy Eisenfeld Genser

Call me crazy, but lately it seems like Q-tips and flowers are a crafting match made in heaven. Q-tips make a great, inexpensive alternative to paintbrushes, especially for little hands and their texture is perfect for creating beautiful dandelion paintings. They also present the perfect opportunity to show how what’s ordinary or even a nuisance to some can be beautiful to others.

Take dandelions—technically, they’re considered weeds, but both species (the yellow florets and the white seed heads) are so pretty. And how fun is it to make a wish on the white seed heads and blow on them so the little white fibers sail off into the wind? Well, when you do that, you’re actually just helping to spread the seeds and grow more weeds! But what’s pesky to some is beauty to others.

Q-tips don’t get a great wrap either. They’re a bathroom accessory that’s mostly used for make up or nail polish cleanup.  Q-tips aren’t often given much thought and are usually hidden in a drawer or dressed up in a glass dish. But these little guys can also make a great art tools. And when you combine them with dandelions, these two outcasts can make a beautiful painting.

To create your own dandelion painting, grab some Q-tips and white paint. Now, there’s a lot of room for interpretation here. You can either start with a blue piece of paper or take white paper or a canvas and paint it blue. You could paint a scene, such as grass or a field, or leave it plain. If you painted, wait for the background to dry thoroughly. Next grab a Q-tip and dip it in white paint. For a simpler interpretation, just start making dots. Create a cluster of dots for the flower’s base and then trail your dots off to represent the seedlings blowing away. Finally, add a black or green stem with paint, charcoal, or crayon… whatever you prefer. If you want to get a little bit fancier, you can use lines and dots to create your dandelions. Draw lines coming out of a central point to create a sphere and then add the dots to the end of your lines. This will give your dandelions a full, round look.

Photo: “Fly Away Dandelions,” Artsonia

There are no mistakes here. Experiment in making your dandelions however you like. As long as you have a Q-tip with white paint and a surface to paint it on, you’re over halfway there. It’s important to remember that the ordinary can be extraordinary and you have the power to make that transformation every day!

Photo: “Light Blue Wishes,” SVPPLY

Happy crafting and have a creative day!

Scribble Town (ST): With us on the Scribble Blog is Timothy Young! Timothy has a long, creative career as an illustrator, graphic designer, toy designer, animator, puppet builder and sculptor and continues to surprise us with his imagination.

Timothy Young with Barney!

Timothy Young (TY): Hi! I live in Maryland with my family on the eastern shore of the Chesapeake Bay. My first book, I’m Looking For A Monster!, came out in 2008 and my 4th book, I Hate Picture Books!, has just come out from Schiffer Publishing.

ST: Where are you and what are you up to these days? I’m sure very excited about your book ‘I Hate Picture Books!’ reaching people everywhere! Please tell us a bit about your book. A little sneak peak please

TY: I Hate Picture Books! is about a boy named Max who is having a bit of a temper tantrum and is throwing away his picture books. Throughout the book Max describes how picture books have gotten him in trouble and all the while we see him either pictured in these books or showing what he is describing in the style of many classic children’s books that the reader will recognize. I really enjoyed poking fun at many of the books I have loved through the years.

I Hate Picture Books by Timothy Young

ST: Throughout your years of experience have you found a favorite place to write and draw?

TY: I have a home office where I do most of my drawing. I write in many places, including when I’m mowing the lawn or driving in my car. That is, I think up a lot of ideas and write them down later on.

ST: I think writing while mowing the lawn is it’s own art form! What other kinds of art do you practice?

TY: I have done a lot of different types of art. I draw, I sculpt, I use the computer to design graphics and advertising. I use Photoshop to finish most of my illustrations.

A few character designs by Timothy Young

I design toys and I have a new toy line coming out soon called HEDZZ™. I designed them and sculpted the prototypes. I’ll let you know more soon about where to get them. You can see more of my artwork at http://www.creaturesandcharacters.com.

ST: All of your characters whether they are in books or in the shape of a toy have such different personalities. What do you hope to communicate with your stories?

Timothy Young's Books

TY: I don’t start out with any specific message, I usually think of a character and a situation they find themselves in. If some kind of lesson sneaks in there, that’s a plus. Mostly I write books for myself and I hope other people like them too.

ST:What was your favorite storybook growing up? Or is there a character that you connected with especially?

Max Eating Green Ham by Timothy Young

TY: I loved Dr Seuss and P. D. Eastman’s books along with many others. Two of my favorites are no longer in print. I especially liked The Ice-Cream Cone Coot by Arnold Lobel and GWOT! Horribly Funny Hairticklers by Steven Kellogg.

ST: I can see your love for Dr. Seuss in your picture of Max eating green ham (look to your right). Dr. Seuss would have loved that! Your designs and inventions inspire us to go to adventure lands! Where do you get your inspiration from?

TY: Everywhere! I can’t stop these characters and ideas from running around in my brain.

Often times I just doodle things until they become a creature or a character who’s story needs to be told. These days I like drawing on really cheap tracing pads I buy at the supermarket. The paper is rough and I like the line quality I get with my drawing pencils. My favorite pencils are Creatacolor Nero extra soft #1s. Once I have a sketch I like I take another piece of paper and trace over my first to get cleaner lines. Then I scan it into my MacBook Pro and do all of my color work in Photoshop.

I wanted to let everyone know about my contest. If you can name 40 books of the over 250 that are referred to in I Hate Picture Books!, you can enter to win over a dozen autographed books by authors whose books are in my book. You can find all of the details at http://www.ihatepicturebooks.com/contest.html.

ST: Thanks Tim for the challenge! I’m up for it. On your mark, get set, go!

The cover of I Hate Picture Books by Timothy Young

Pointillism is a real nifty painting style for any budding art lover to acquaint him or herself with. Not only is it an interesting moment in art history, but it’s also a great technique to play with and explore in one’s own work. In this project, we’ll make our very own creations comprised of dots. It’s a wonderful way to explore texture and color. This project is suited for anyone and is a perfect mix of fun and education for kids. If working with little ones, supervision or assistance is strongly recommended since there is a flame involved (see below).

First, a little background: Pointillism is a painting technique pioneered by artists like Georges Seurat and Paul Signac towards the end of the Impressionist movement (late 1800s). The artist uses dots of color to create a larger whole picture. The connection our eyes make between each dot can create the impression of different colors and specific images. Pretty neat, huh? It’s similar to Impressionism in that the brushstrokes are visible and central to the aesthetic of the painting, but pointillism is more precise and controlled—you can see each dot. You may have seen these famous pointillist paintings:

A Sunday Afternoon on the Island of La Grande Jatte (1884-86) by Georges Seurat

 The Papal Palace, Avignon (1900) by Paul Signac

It may look super complicated, but don’t let that stop you! You too can create your very own pointillist masterpiece! You’ll need: a canvas or sturdy piece of paper, a pencil, wax crayons (with the paper wrappers removed), and tea light candles. Ideally, you’ll want a lot of crayons—a couple shades for each color to add depth and make the dots stand out. For example, if you’re creating a blue sky, try using a dark, medium, and light blue.

Okay, let’s get started! First, take your pencil and lightly outline the picture you want to create—just big, general shapes… nothing too detailed. When you’re ready to start filling the picture in with dots, start with the background and work your way up to the foreground. Take a crayon and hold it about an inch over the candle flame.  Once it starts to melt, but before it drips, start dotting the desired section of the canvas. Leave some spaces so you can go back with another shade of the color. Repeat this process until you’ve worked through the section, then start with your next shade. The process is time-consuming, but I actually find it strangely soothing. The relaxed repetition of creating dots and seeing them slowly build a picture can be both calming and fulfilling. Also, don’t feel obligated to finish your whole picture in one sitting. Sometimes it’s better to take a break or even work on it over a few days.

Here are some great examples of homemade pointillist projects (click links for each blogger’s tutorial):

Photo: Intellidance                                      Photo: Helping Little Hands

One good alternative to melted crayons is using acrylic paints and unused pencil erasers (the pencil acts as a great brush handle and the round eraser makes perfect dots). This creates a similar look, but avoids using a flame.

Photo: Classic Play

Once you have a feel for the general method, feel free to make it your own. Art is a wonderful combination of understanding established techniques and experimenting to make them your own. Happy dotting!

Scribble Town (ST): The first time I spotted Adrienne Moumin’s photo collages I was stunned by their design and beauty.  And then curiosity hit!  How did she do that?  Where are these images coming from and how is it so that from one concrete image it is perfectly cut and spliced and then re-contextualized all to have it’s meaning turned upside down.  Adrienne is here with us to share with us her creative story!

Adrienne Moumin (AM): I was born in 1961 in Brooklyn, NY. I work in film-based, hand-printed, B&W photography, and hand-cut-and-assembled, mixed-media photo collage.

Sculpture Garden Hirshhorn; 33” x 33” Hand-Cut-and- Assembled Gelatin Silver Photo Collage; 2009 by Adrienne Moumin

I am best known for my Architextures series of handmade photo collages.  My favorite photographic subjects are NYC architecture and urban landscapes, and store window mannequins.

This is me (with a selection of my Architextures photo collages) in my booth at the Architectural Digest Home Design Show, Pier 94 in NYC, March 21-24, 2013. I made a great many contacts in the architecture and interior design fields, as well as directly with people who buy art for their homes and offices.

My photography and collage have been exhibited in New York, and nationwide, for over fifteen years.  My work is in private collections in the US and internationally.

ST: Your photographs and collages have been on the move for quite a while now!  Where are you and what are you up to these days?

AM: I am based in New York, NY and Silver Spring, MD. I split my time between the two cities: showroom in NYC, and studio and darkroom in MD. I am continuing to work on my Architextures series, as well as coming back to the surrealist mixed-media collage style that I have dabbled in for years. I recently sold one of those pieces to someone who is wildly enthusiastic, and has encouraged me to produce more work in that genre.

ST: I like the name of your series, Architextures.  It gives a tangible feeling to the photo collages, but also a sense of having a strong structure to the series.  When did you start making collages and taking photographs? Was there somebody that encouraged you?

AM: I began working in cut-paper collage starting at about 8 years of age, using magazines and catalogs that would come to the house, to decorate whatever I could find.  A major project in childhood was decorating the top of a castoff bookcase with hand-cut magazine pictures. I began photographing seriously, and studying film and darkroom processes, in my ‘20’s. I have been completely self-propelled in my artistic endeavors.

Snippetree; 19" x 13 ¼" x 1 ½” Deep Hand-Cut-and- Assembled 3-D Gelatin Silver Photo Collage; Made from over 300 pieces cut from 10 duplicate prints; 2011 by Adrienne Moumin

ST: That’s great to hear that you have been making collages since your were 8 years old!  Where do you find yourself feeling really inspired to create?  I really like your stories on your website especially the one under Architectural Detail.  You write, “Someone told me once that I was an architect in another life. I love the curves and the lines, the reflections and the tonalities, the solidity and transparency, and the man-made striving for esthetic and functional perfection, of architectural forms.”  To read more of Adrienne’s stories please go to http://www.picturexhibit.com/index.html.

AM: So many things inspire me!: Walking around the city, looking at architecture and urban landscapes; fashions worn by passersby; and store window displays.  And, of course, looking at the art of others, in galleries, museums, and online.

ST: Inspiration is one thing, but skill is another.  How do you hand print silver gelatin photographs?  What is the process?  I’m sure we are all interested in the magic of the dark room.

AM: I use an enlarger, which is a device that shines a light through the photographic negative, and projects it below onto the light-sensitive paper that I place there.  Then I put the paper through a series of chemicals in trays, to develop and fix that latent image. This is all done under a reddish-orange “safelight,” which provides just enough light for me to see what I am doing, yet does not affect the paper.

ST: What forms of art do you include in your mixed media photo collages?  What are some tools you like to use?

AM: I always start with the photograph, and what it suggests to me in terms of feeling and mood.  There is no limit to what I will attach to the surface of a photograph. Paper cutouts, glass or plastic beads, sequins, Swarovski crystals, metal stampings…the list never ends!

ST: What kind of music do you like?  Is there something you are listening to at the moment while you make art?

AM: Music is very important to me when I am printing in the darkroom.  In keeping with the analog nature of my work (and my refusal to replace a perfectly functioning technology simply because something new comes out), I have a little boombox in there which plays cassettes and CDs! Two of the CDs I nearly always listen to during printing sessions are the first album from Counting Crows, “August and Everything After,” and The Band’s “Greatest Hits.”

The Victory Arpeggios; 25½” x 25¾” x 3/8” deep Hand-Cut-and- Assembled 3-D Gelatin Silver Photo Collage; 2012 by Adrienne Moumin

ST: Adrienne, you have given us a great start to create and how to look at things differently!  What is a piece of advice for parents and their little scribblers?

AM: For the parents: Look at some collage sites on the internet, and google different search terms, to find age-approriate project ideas for children; many require little or no money.  Talk to your children about what they would enjoy; you never know when an idea will spark a fire that lasts a lifetime.

For scribblers: Just do what you feel. Because art has no rules.

I found this on Pinterest, and followed the link to this ingenious project, posted by art teacher Sherri Schultz.  It is simply using our imaginations to expand on an image.
http://artmommie.blogspot.com/2012/03/young-explorers-class_10.html

ST: You are right- art has no rules and now is the time to explore and create!  Thank you, Adrienne!

To find the tools to get started on your own collage please have a look at Adrienne’s suggested art activity that expands your image  http://www.scribbleshop.com/content/exploring-expansion-your-image-and-imagination

When I was a kid, one of my favorite things to do was visit the “duck pond” with my uncle. We’d bring a loaf of bread to this big pond by a playground and feed the ducks and watch them swim around. I was fascinated with all the ducks swimming around, from the gorgeous green-headed mallards to the brand new baby ducklings trailing their mothers. Watching them always meant that warm days were ahead, and so were many afternoons spent at the playground and duck pond.

These little pebble ducks are a perfect project for my four-year-old self and anyone ready to welcome the next batch of baby ducks and warm spring days ahead.

First, take advantage of these warm, lovely days by going for a walk to collect some pebbles or small rocks. When you get inside, give them a good scrubbing in some warm soapy water. Once they’re totally dry, you’re ready to paint! Grab some acrylic paint and create your little duckies. You can use whatever colors you like, but one classic combination is a white mama duck and yellow babies. For younger children working on this, or a just more minimalist look to your project, paint each rock a solid color so it acts as the whole body (like in the first picture). If you’re feeling more ambitious, you can draw a complete duck on each rock, as seen in the second picture. Once the paint has dried, go back in and add the face details with markers (black eyes and an orange beak).

Photo: Inner Child Fun

Photo: Babble

How cute is these little guys? And they don’t even need breadcrumbs! The ducks are truly adorable, but you can choose any animal you like! This project is extremely versatile and just waiting for your creativity to take over!

Do you have any childhood memories that automatically remind you of spring? Other than ducks, what animals would you try with this project?

Did you know you could use art to be a secret agent? Well you can! With the right combination of supplies, you can make hidden messages and codes. You don’t need any training or fancy gadgets or powerful connections. All you need is white paper, a white crayon, and watercolor paints. Sounds pretty easy, huh?

Take your white crayon and write a secret message or draw a picture on the paper. Make sure to press firmly or go over it so that it really stands out. Can’t see it on the white paper, can you? Good. Now grab your watercolor paints and a brush and paint over your words or drawing. You can paint a picture, or one solid color, or a lovely abstract design. See how the crayon shows through the paint? Your hidden message is now visible… and beautiful, might I add!

Now, if you’re not in the mood to be a super secret spy but like the technique of using white crayon and watercolors, just make a pretty drawing or design for the fun of it! This simple trick creates a beautiful and unexpected look for a greeting card, wall art, or sketchbook page.

Never underestimate how far you can go with your basic art supplies. Many people find the white crayon to be useless, but these fun creations wouldn’t be possible without it! Give it a whirl and see what exciting pictures you come up with.

Photo: A Little Artsy

Photo: Alisa Burke

Irra Verbitsky is an award winning artist, animator and independent filmmaker living and working in NYC.  She has so many talents and accomplishments that it is hard to name them all!  She was also my storyboard teacher at the School of Visual Arts where she still teaches in the animation department.

"Viking Voyage" by Irra Verbitsky

Currently, Irra is the President and Creative Director at Polestar Animation.  She is involved in many things such as designing storyboards, background designs and animation.  Her independent animated films have been screened internationally and at the Whitney Museum of American Art and the Museum of Modern Art in New York City as well as at festivals here in the U.S.A. and abroad.

Original Storyboard for "Owen"

Irra has directed and animated children’s films for Scholastic.   On the animation “Owen” (1995) Irra was
background painter and color animator while Sara Jessica Parker narrated the animation.

Irra is a very accomplished storyboard artist.  As a storyboard artist she sketches the stories, so that the scenes in the movies or animations can be visualized.  Here you can get an idea of how she sketches out her storyboards to create her award winning ‘Owen’.

I wasn’t the only one who thought ‘Owen’ was a great animation!  Others thought it was such a talented piece of art that ‘Owen’ won the prestigious Carnegie Medal for Best Children’s Film of the Year and an ASIFA EAST Award!  Those are two biggies

So far Irra has created over one hundred one minute spots for Sesame Street.

Do you recognize any of these animation stills?  Here’s one from the animation titled ‘The Story of Princess Twelvia’ and another one titled ‘Moving’.  From the picture below, where do you think Princess Twelvia is going?  How many steps are there on the staircase?  Hmm…maybe there’s a connection!

Sesame Street's 'Twelvia' Original Production Cel & Background by Irra Verbitsky

Sesame Street's "Moving" Original Production Cel & Background by Irra Verbitsky

The Last Unicorn movie poster

Irra provided the design work on the title sequence well as the story boards for the feature film, ‘The Last Unicorn’.  The animation is an adaptation from the American author Peter S. Beagle’s class tale ‘The Last Unicorn,’ which was written in 1968.

“The unicorn lived in a lilac wood, and she lived all alone. She was very old, though she did not know it, and she was no longer the careless color of sea foam but rather the color of snow falling on a moonlit night. But her eyes were still clear and unwearied, and she still moved like a shadow on the sea.” – Peter S. Beagle ‘The Last Unicorn’

From that short paragraph of the book’s prose-poetry you can get an idea of how the story is very tender and beautiful.  In the movie the unicorn is told by a butterfly that she is supposedly the last of her kind because all the others have been herded away by the Red Bull.  With that in mind, the unicorn sets out to discover the truth behind the butterfly’s words.  On her quest, the unicorn is eventually accompanied by Schmendrick, a trying magician, and Molly Grue, a woman who has dreamed all her life to see a unicorn. Their journey leads them further and further away from home. They travel so far, all the way to the castle of King Haggard.

Irra Verbitsky shares her talent as an animation teacher at the School of Visual Arts in New York City.  Her excitement for the arts shines through her teaching and encourages her students to be as playful and thoughtful when creating moving pictures!

Flashbacks From My Past: "Departure" by Irra Verbitsky