And Then…

And Then, last page of The Dinner Party: A Symbol of Our Heritage, 1979, Doubleday, from artist & writer Judy Chicago, Droid Shots, Minneapolis, Minnesota, September 2011, photo © 2011 by QuoinMonkey. All rights reserved.

And then all that has divided us will merge
And then compassion will be wedded to power
And then softness will come to a world that is harsh and unkind
and then both men and women will be gentle
and then both women and men will be strong
and then no person will be subject to another's will
and then all will be rich and free and varied
and then the greed of some will give way to the needs of many
and then all will share equally in the earth's abundance
and then all will care for the sick and the weak and the old
and then all will nourish the young
and then all will cherish life's creatures
and then all will live in harmony with each other and the earth
and then everywhere will be called eden once again

—artist & writer Judy Chicago, from The Dinner Party: A Symbol of Our Heritage, 1979, Doubleday


-posted on red Ravine Monday, September 12th, 2011

-related to posts: A Moment Of Silence – September 11th, 2011, 9:02am, Remembering – September 11th, 2008

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The Sketchbook Project

Confidential (Open), Things That Changed Other Things, The Sketchbook Project, Musk Ox Moon, pages from the Moleskines of Liz Schultz & QuoinMonkey for The Sketchbook Project, January 2011, photos © 2011 by QuoinMonkey. All rights reserved. Medium: Portfolio Brand Water-Soluble Oil Pastels, Prang Metallic Markers, Uni-ball Signo 207 Rollergels, Letter Stamps, Ink, Caran D’Ache NeoColor II Swiss Made wax crayons, Black & Silver Sharpies, digital photo, gesso, sticker, water, Moleskine.

Liz and I signed up for The Art House Co-Op Sketchbook Project months ago. This week we are working furiously to put the finishing touches on our Moleskines. We’ll postmark the journals by January 15th and they will be on their way to a permanent collection at the Brooklyn Art Library. But that will be after touring the U.S. with all of the other 28,835 artists from 94 countries around the world who submitted their journal art. The tour starts March 2011.

I snapped a few in-process BlackBerry shots but they don’t do justice to the vibrant colors or feel of the original pages. Tomorrow night I’ll get out the Canon and document every page, because the journals won’t be returned. It’s a lesson in letting go. One recent addition to our art materials (thanks to ybonesy’s detailed post on journals) are the Caran D’Ache NeoColor II Swiss Made crayons. I like mixing them with oil pastels. They work well with a brush and water.

Liz and I chose different themes for our Moleskines. I am working with Lights In the Distance; she chose Things That Changed Other Things. Photography lends itself to light, so I included original light-related photos and a series of Moon sketches. Liz worked with original photographs, poetry, and collage. She helps motivate me to experiment with new materials. It’s been a long time since I kept a sketchbook, so it’s been fun to work on this project together. Though I wish I had not waited quite as long to finish up the details. Deadlines motivate!

Rabbit Ears, Dragon Moon, Life Is Short, Art Long, pages from the Moleskines of Liz Schultz & QuoinMonkey for The Sketchbook Project, January 2011, photos © 2011 by QuoinMonkey. All rights reserved. Medium: Portfolio Brand Water-Soluble Oil Pastels, Prang Metallic Markers, Uni-ball Signo 207 Rollergels, Letter Stamps, Ink, Caran D’Ache NeoColor II Swiss Made wax crayons, Black & Silver Sharpies, digital photo, magazine pages, discarded faxes, gesso, sticker, water, Moleskine.

-posted on red Ravine, Thursday, January 13th, 2011

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s i t – w a l k – w r i t e – f l y

Sit Walk Write Fly in Taos, pigeon coop at the Mabel Dodge Luhan House, December 2010, collage made of magazine paper, wax crayons, and pen and ink in Moleskine journal, image © 2010 by ybonesy. All rights reserved.










Joy is s i t   w a l k  w r i t e
with Mabel’s pigeons in Taos
learning how to  f l y












-Related to posts WRITING TOPIC – JOY and haiku 2 (one-a-day)

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This Thanksgiving Weekend, Make A Gratitude Journal

Lotería Journal, altered Moleskine cover with ybonesy doodles (plus Caran d’Arch, gouache, and ink pen), design © 2010 by ybonesy, all rights reserved.

I love journals. I’ve written about my love of journals. I have doodle journals and writing journals, and I even have my first ever journal, a gift from my sister Bobbi, who got it for me as part of a Scholastic book order she made for her new class. She gave it to me about the time she started teaching: 1974. I was 13 years old, a newly minted teen, and my journal (it was actually more of a diary, although I’m not sure what the difference is) was the perfect place to log news of piddly babysitting jobs (for which it was not uncommon to make 75 cents!), swim lessons, and crushes. That early journal got me believing that any life—even one so boring as my own—was worth recording.

That’s the beauty of the journal. That it might collect the ordinary and occasional extraordinary goings-on of your existence. And that someday you might look back on it as one experiences the family photo album. Memory, insight, a looking glass into your world, or at least a snippet of it.

So it is not surprising that I’ve recently discovered the joy of making journal art. I’m not sure what else to call it. I take blank journals—the basic Moleskine works great—then figure out designs to create on the covers. It’s a fun project, one that can easily be done over a long holiday weekend.

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To make the Lotería Journal, which I fashioned after the Mexican Lotería cards, I used the following items:

• Moleskine or other journal – I like the Moleskine brand, but it is a bit pricey. Any simple journal will do; for this project it’s best to stay away from leather or cloth covers.
• Gesso – to apply to the cover so that you can color or paint the cover (the gesso acts both as a whitening agent to better absorb and reflect light in color, as well as a primer so that whatever you apply bonds well to the surface).
• Evenly sized images – for this journal I used my own, but you could cut images out of magazines or tear out cool papers and draw different designs on each one.
• Mod Podge – to glue the images to the Moleskine cover, and later, once the piece is completely done, I’ll paint the entire cover with Mod Podge to seal the design and give it a glossy finish.
  
• Paints and wax crayons – to add color.
• A black pen, preferably permanent, but if you use an impermanent one, just make sure it is completely dry, and when you do your final paint with Mod Podge, do a quick brush; don’t go back and forth or linger else the black ink will smudge.
• Brushes – a one-inch one for the Mod Podge and a small one for my paints (both of which I keep in water while I’m not using them).

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And given that we are in the Thanksgiving season, I can’t think of a better use of a lovingly created journal than to transform it into a Gratitude Journal. Now, folks out there may practice daily Gratitude, but for my part, this is an area that I’d like to improve. I want to spend more time giving thanks for what I have and less time wanting whatever it is I don’t have.

A Gratitude Journal can take several forms. One idea is to use it as a way to say Thank-You to someone in your life. My sister Janet once created this type of Gratitude Journal for me, although we didn’t call it that back then. But now as I think about it, that’s exactly what it was.

About thirteen years ago I organized a trip to Spain for my dad, Janet, another sister, and my sister-in-law. The five of us spent two weeks traveling all over the country, staying in unique and at times quirky places. An olive-farm-turned-bed-and-breakfast, a renovated monastery, and a former brothel, for example. We had a wonderful time, and afterward Janet made me a journal as a memento of our experience. Handmade paper adorned the front and back covers, and inside on a long single sheet of paper that she folded like an accordion, she made a collage of different scenes from the trip.

You could create a Gratitude Journal and inside turn it into a personalized Thank You to someone close to you. I know I often pull out the journal my sister made for me. It’s so much richer than a Thank You card.








A Gratitude Journal could also be something you keep for yourself over a certain period of time—say, the upcoming year—to help practice gratitude in your life. There are a lot of ways you can do this. For example, each day you could think about what it is you’re grateful for and then write about that particular topic. Or make a doodle about it, or do a collage on that page.

QuoinMonkey wrote a post at the end of 2007 titled Feelin’ Down For The Holidays? Make A Gratitude List. She made her list at the end of the year, as has been a tradition of hers for several years now. Here you can see her Gratitude List from 2007 looking forward to 2008, along with mine. And here are QM’s Gratitude Lists from 2009 and 2010. You could follow QM’s example and dedicate a sheet of paper to each letter of the alphabet and see what flows onto the page.

Or maybe your Gratitude Journal project is more about simply focusing this weekend on creating a beautiful cover for your journal. Maybe that in itself is the act of Gratitude, giving Thanks by allowing yourself to spend a few hours making art.

And speaking of giving Thanks, QM and I are immensely grateful for the community and inspiration we’ve received over the years from working together and from all of you.

Have a wonderful Thanksgiving holiday!

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Journal Art, mixed media journal covers—washi paper, Caran d’Arch, collage, small wooden canvases top two), postage stamp (third), stickers, etc., design © 2010 by ybonesy, all rights reserved.

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-Related to post On Providence, Old Journals, & Thoreau

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One Journal, Ten Thousand Journals

I’ve been wanting to do a post on the power of journals for some time now, ever since I read this article in the May/June issue of Poets & Writers. It’s about Brian Singer’s 1000 Journals Project. Here’s the gist: one thousand journals are sent into the world. Some are sent to friends. Others are left in public places. The journals land in the hands of artists and writers and average Joes; they’re filled and when they’re complete and available for viewing, we discover each page in each journal is a piece of art. Collaborative art.

I love this idea that people are making art separately and together out of something they find. What I love even more is that it’s something as ordinary as a journal. Nothing to fret about. No worries about perfection. It’s a page in a notebook. After you paint on one page, there are a whole bunch of pages left just waiting for you to take your pen and scribble. Doodle. Do whatever you want. And when that page is done, there’s another, then another.

This idea of “journal as art gallery” is enticing because it is so impermanent. Nothing to be framed and hung. Nothing to publish or sell. Always another page, and every page your own.

During a year-long writing intensive with writer and teacher Natalie Goldberg, I kept a journal to track my daily practice. All of us in the intensive did. Days we practiced—writing, sitting, or walking—we noted what we did and for how many minutes. We also recorded days we skipped.

I loved the journal part of our commitment to the intensive. I liked picking out my book. I settled on something mid-size and thick yet flexible, with a bright red vinyl cover. The pages were graph paper. For me the journal signified witness–witness to the fact that I showed up. It added structure to what was already a year of discipline.

Something broke free in that structure. I suddenly found myself doodling like I did when I was younger. I’d open my journal while at work sitting in a meeting and I’d draw the fellow giving a presentation, or I’d draw my hand. I got into inking typefaces, serif and san serif. Flowing, flowery cursive. Tight, narrow lettering.

I played with the headers for each day of the week. Sometimes I stamped them out with alphabet stamps I bought for the girls at a paper store. Or I wrote the days in a loose freehand.

I threw in color. Some days if I went somewhere interesting, like the time I took Dee and Em to see the Mexican Modern exhibit at the Museum of Fine Arts in Santa Fe, I included a memento. The journal reminded me to be present, and any time I was cognizant of this effort to be present, I documented it as practice.

Once the intensive was over I stopped keeping track of my writing. I stopped recording my creative process. I still have my journal. I still have notebooks for my writing, and I have a painting notebook as well. I haven’t stopped writing or painting or doodling, although I have lost the structure. I’d like to get back into recording my practice, maybe once I settle into the new house. Once my life becomes sane again.

I’m struck by how for me the journal became a creative medium in and of itself more than simply a record of my work. It was like verb and noun all rolled into one.

I’ll let you know when I get back into it. Maybe we can start it up together. In the mean time, if you have a chance to keep a journal—a hard-bound book in which you draw, paint, make collage, and write—give it a try. Make it be about more than just the journal itself. Log your progress toward practicing your art. I think you’ll enjoy the process.

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