In yesterday’s post I wrote about using an outline to guide me of where to place the colored pulp. As I cannot work from an easel as the wet pulp would slide off the surface, instead, I work on a flat surface. As I mentioned yesterday, I draw onto the surface of in-progress paintings with different colored grease crayons in order to guide me as I continue to work. I then draw the image from the photo onto the in-progress painting, which I have drawn a complimentary grid on, just at a larger scale (i.e, an inch on the photo might represent a foot on the painting surface). This photo provides a clearer picture of a work in progress using the outline method. The shiny areas are wet with newly laid pulp. Once dry, I can pin the still unfinished painting to a wall surface and draw another grid!
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Meg Black is a New England based artist who works with natural fibers to create stunning works of art.