Turquoise Cow Skull

This week, I painted a cow skull using my turquoise painting technique. This was a fun challenge. Painting a 3 dimensional object, like a real bone animal skull, is a lot different than painting a flat canvas. There are so many nooks and crannies on a cow skull.

Tom found a box of skulls that had been stored away for years.  This is Colorado, after all, and I assume everyone has cow skull and deer skulls in their storage units. What to do with them? I suggested pitching them. Tom decided to give them a good cleaning, then asked me if I would paint them.

The first one I painted was a massive cow skull. First, I gave it a good coating of gesso on all the surfaces I could reach. This step ensures that the turquoise paint will adhere and gave me a white background just like my canvas paintings. Then I used my professional grade, artist acrylics to create the turquoise look.  This cow skull turned out so nice, that we decided to post it for sale in Tom's Etsy store, Tom's Critters.

I think it would look great in a western or southwestern decor. For more photos and info, see this turquoise cow skull and more for sale at Tom's Critters

Art in the Park show

This week end, I will be in my first outdoor art show. Should be fun, and a learning experience. The weather is supposed to cooperate, but I am bringing a huge blue tarp just in case. I have been painting like crazy to get ready.

The show will be in La Veta, Colorado, this weekend, June 30 & July 1 ~ 10 am - 5 pm. They will be having food and live music, a parade and barbacue. Sounds like a fun time.

Contemporary Art "Spring Creek" Painting Done

24" high x 30" long. Acrylic, April 2007. Painting # 071706
Contemporary Art painting, "Spring Creek 101", is finally done. Whew! Now I can take my glasses off. What fun all that color was to paint. Each rock is unique. Looks like you could pluck them right out of the painting, they look so real.
To see details and pictures see the link below: Spring Creek101 Details

"Spring Creek" Painting Almost Complete

Here is the current painting in progress. The rocks are all done. Colorful, huh? Now I have to paint the ice. The 3 big, light blue rocks have ice on top of them, and the water flowing at the top has some ice on it. I have never painted ice before, and I am eager too try. So, I'm just going to sit, with my canvas, in front of the computer screen, and paint what I see.

New Original Artwork Painting Started

I went on a hike to Zapata Falls last weekend. The falls were still mostly frozen, but the creek was thawed with a little ice left on the rocks. Took some pictures and ran them through the computer. Wow! The colors were amazing. With just a bit of tweaking, I got a photo I just had to paint.

Why do I get so excited about rocks? I just love them. I see each rock is a unique work of art, created by God, free of charge. I pick them up, bring them home, and squirrel these treasures away. My boyfriend is no longer surprised when he finds rocks in his truck. Good thing he loves me and understands my obsession.

I picked a 24 x 30 inch canvas, so I have room for all that detail. I am using acrylic paint, thinned down like watercolor paint. I love the effects achievable with watercolor paint, but I need the permanence of acrylic. Let's face it, I am a klutz. And, my kitties are still too rambunctious to be trusted around jars of water and brushes. With watercolor, one little splash could make me an unhappy camper.

This painting has got me so excited, that I don't want to put the paint brush down. I want to do more, and am planning the next painting in my head, as I paint. I'm thinking of calling this one "Spring Creek".

Mountain Moods #103 Contemporary Art Landscape Painting

"Mountain Moods #103" 12 x 48" Acrylic & Mixed Media, March 2007. This is the third painting in "The Mountain Moods Series" For larger pictures and details see the link: Mountian Moods #103

Mountian Moods #101 Original Painting

"Mountain Moods #101 12 x 48" Acrylic & Mixed Media, March 2007
"The Mountain Moods Series" is a new series I have just started. This is another example of my innovative Recycled Plastics Technique. The recycled plastic gives the canvas a wonderful surface texture. This texture is not only interesting to look at but creates a desire to touch the piece. This extreme texture is unattainable with any kind of paint gels.

The texture is very 3-D. When view from across the room. this painting looks like just paint on canvas. However, when viewed up-close, the painting comes alive with texture. No matter the angle of viewing, the texture is apparent. The combination of recycled plastic, canvas, glue, and finally, colorful acrylic paint is my own original technique and design. This texture is even more amazing when viewed under dimmed lights. The play of shadows makes it take on a whole new life.
For Larger pictures and details see the link: Mountian Moods #101


Mountain Moods #102 SOLD

The Making of "Battle Cry"

First comes a trip to the "Bone Yard" as I call it. I live on a ranch, and any animal carcasses are dumped in a corner of one of the fields. My problem is matching up and identifying the bones. There are so many of them, and all sizes and kinds. Pretty gruesome. My first visit, gave me the creeps. But I'm getting used to it, and now I find it interesting. I pretend I'm in a CSI episode.

I try to select a skull that is relatively clean and intact. The word "clean" means little, to no nasty bits or bugs. I cart all this home for a through scrubbing and closer inspection. Once scrubbed with disinfectant soap and hot water, the skull is ready to be glued and sealed. I glue any loose joints and always the teeth. Then the whole thing is sealed. I found from experimentation, that this keeps the joints from spreading when exposed to the heat of baking.

The skull, clean and glued and ready for sealing. This is a huge skull. I'm pretty sure it was a yak (Tibetan bison)

Did I mention baking? You have to have a nice large oven for this project. I use polymer clay for the sculpting. It requires baking at 265 degrees F for 30 minutes to cure. Since my only oven is in the kitchen, this is truly a test of one's love of their art. There is a horrid smell produced when baking an animal skull. I was in the middle of my first sculpture, "Father Time", when I had a date over to pick me up for dinner. Might as well let the guy in on my little secret early on in the relationship. Well, to make a long story short, he never called again. Just proves he wasn't the perfect man for me. But I digress.

Once everything is nicely sealed, creating the armature begins. I use all kinds of wire sizes, depending on what the situation calls for. Mostly aluminum and galvanized steel wire, for their non-rusting properties. The skull provides many natural holes for inserting wire, but I always have to drill a few extra holes. With the first sculpture, I made the mistake of wiring the jaw assembly
to the head too soon. With the mouth wide open, I had a hard time fitting the whole thing into the oven. I've learned that the jaw should be attached, only after all the baking and painting is completed. This is the completed armature, ready for clay. The head is not attached, just propped up for visual effect. He's starting to look interesting, huh?

This skull is heavy and huge! Barely fits in the oven. His tongue looks like a giant jalapeno pepper. The color of clay I used was whatever was plentiful, looks silly in orange and green, but it all gets painted.

Applying the clay is the tricky part. The clay needs to be seamless. I roll out large pieces with the pasta machine, and then join them by rolling together between 2 pieces of wax paper. Then I drape and smooth the clay over the armature, trimming any excess as I go. The first bake is never perfect. That's OK because I know I can go back and sand off any lumps and add more clay where needed. This process repeats until I am satisfied.

Once I'm happy with the clay, the whole thing is given multiple coats of gesso, and then I make the stand. And he's ready to stand on his own. The lower jaw is still not attached. Makes it easier to paint the underside.

The painting is now well under way. Notice how he's now residing on the kitchen table? He has become too tall to work on comfortably on my workbench. Lovely kitchen decor I think. And the teasing comments from my friends, "Are we having teradactyl for dinner tonight?"

I decide that the feathers need to be detachable, and build a separate armature to hold them. This armature is painted to match and attaches to the back of the scull with 4 tiny screws. I also decided the base was too tall, and cut 5 inches off the bottom of the 2x2.

Well "Battle Cry" is finished, and I'm excited to start the next sculpture, "Speedy." He will be fun and comical. Why am I creating these sculptures? Good question. They really challenge my design abilities, and I love a good challenge. Each sculpture is unique, with new design problems to solve. I have conquered the "gross out" factor, and no longer have that queasy feeling in my stomach. I've learned a lot about bones, and now view them as fascinating material to work with. And maybe in the end, I am somehow honoring the animal by giving it a second life.

"The Geology Series, Turquoise 111"

For Sale
The Geology Series, Turquoise 111"

Another Hugh Turquoise Painting, using my Recycled Plastics Technique. This one is 2 panels each 24" x 30" for a total of 30" x 48". See it on my website In Art Studio.com "Turquoise 111" or email me: liana@inartstudio.com

"Lapis 102" - 30" x 48"

Back to Painting. I love the variation of blues in this one. The more I look at it the more I like it. The colors are so striking. From my "Geology Series" this painting is for sale. See it on my website In Art Studio.com "Lapis 102" or email me: liana@inartstudio.com

Painting Ponies

Here are some new polymer clay ponies I just finished painting. Will be adding them to a new painting. I will be carving some more horses in the near future. I have lots of new ideas for these little guys.