The Last of the Hummingbird Series

Back in early February, I was marbling in the studio, getting ready for the South Pasadena Arts Crawl, and using up the last of the bath and alumed papers. Despite being exhausted after a long day at the tank, several wonderful things happened in that last half hour--including the piece that makes up this month's header. But undoubtedly the most lovely thing to happen was the discovery that I could make a hummingbird out of a single drop of paint. I've featured two of these on the blog before here and here but have saved, what I consider to be, the best for last.

I can barely express how beautiful these pieces are in person. I love everything about them, from the background (which feels as fluid as a hummingbird in motion) to the texture and color of the paper ("bier paper" made by combining recycled beer labels with malt, yeast, and hops leftover from brewing!) to the size of the hummingbirds (which are the same size as ones in real life).

I knew these pieces were special and had them professionally framed.

I wanted to keep both of these for myself. You have no idea how badly I wanted to. How badly I REALLY, REALLY wanted to. But the second these came off the bath there was one person I thought of immediately: my neighbor, Raynee (and when Emmett saw them, the first thing out of his mouth was, "Oh, Raynee's going to love that!"). There are a thousand reasons why I felt compelled to give her at least one of these pieces (one for every time she and Nick have been wonderful to us) but the main one is because she is a hummingbird lover. She has six feeders and religiously keeps them full year-round. The result is a backyard decorated with, at times, upwards of 50 or so of these delicate, precious, tiny birds and their flashes of brilliant color around their necks. They sit on the feeders and telephone wires and up in my Elderberry tree and then swoop about buzzing through the air. It is a wonderful gift she has given not just to herself but to me also.

And so one of my pieces now sits above the fireplace in her living room. I have kept the other one for myself, of course, and it too hangs in my living room. The truth is, the two hung together side-by-side would be off-the-charts steller...but I just couldn't part with them both. She knows this. I told her how hard it was for me to part with one and made her promise to will it back to me when she dies! And every time she sees me, she says with a sigh and a smirk, "Oh, it would be nice to have a set of those marbled hummingbird pieces."

In a way though, they do hang side-by-side---one in her house, one in mine. And like the hummingbirds gathering at the feeders, Raynee and I also enjoy sharing a drink together, regularly swooping between homes for happy hour. Perhaps the Universe never intended the two pieces to share the same space in the first place. Perhaps everything is exactly the way it is supposed to be.

Demo Papers

[slideshow] These are a few of the marbled papers that came out of the marbling demo I did for the South Pasadena Arts Crawl a few weeks ago. I really like some of them (and some I can tell I was distracted when making them!).

It's funny how it can take a few days for me to really appreciate what I've created. I love marbling for its instantaneous results--lay down paint, do your design, lay down paper, pull up paper, viola!--but the downside is that because I can do upwards of 30 papers in a full-day session, the pieces whiz by and become a blur. It's not like I'm a machine cranking out work without a thought, however. After a piece comes off the tank, I do study it--how do the colors look, did the design turn out, what is the bath doing to the paint? But at this point, it's mostly technical appreciation...and then I'm on to the next piece making adjustments or trying something new based on what I just learned.

It's not until after I've torn down the studio, after all the papers have dried, after they have sat under heavy Davey Board for a few days, after they are brought in and laid out on my inside studio table that I really see them in a bigger artistic context. My eyes linger over each piece and I begin to appreciate them for the fine art that they are. I envision how they would be best displayed (which side is up!), if I would use the whole sheet or just parts of it, and how I would frame it (to mat or not to mat?). I look at the pieces over and over again and fall deeper in love with my work each time. Eventually, after five or six days, I force myself to sort them (by size and paper type) and put them away with the rest of my creative inventory in big, flat files designed specifically for large papers.

But then a week will go by and I'll find myself digging through my inventory, pulling pieces out that I am particularly fond of, and the love affair kicks in again. That's usually what inspires me to set up the marbling tank and begin the whole process all over again.

It's a nice cycle to be caught up in.

Water Month

This month I will be spending a lot of time near water, on water, or in water so I thought it appropriate that my masthead coordinated with my activities. The colors and the strokes make this piece look, feel, and move like the ocean to me.

I wish I could tell you how I made this design. Truth is, it happened at the very end of a marbling session, with very little paint left, and a very shallow bath of well used size. At this point, I'm physically exhausted and mentally spent. I have a vague recollection of making this piece and admiring it after pulling it from the bath, but I was also ready TO BE DONE with the day. I just wanted to get everything cleaned up so I could sit down to a nice glass of wine and a hearty meal and rest my weary self. It wasn't until I looked at it a few days later that I really took to the design. By then, of course, I couldn't remember how I did it. Oh, well...just another "happy accident" in the marbling world.

Conflicted

I can't decided if I like this piece or if I think it's cheesy.

Thoughts?

Bridging the Gap

The creative life of a marbler is similar to that of a writer--work is usually done in solitude. It's just the marbler, her tank, and her paints surrounded by lots of wet paper. We like it that way. That being said, I have never met a group of artists so vocal about process. Ask a room full of marblers (or a message board full of marblers) one seemingly simple question about marbling and you will have a day's worth of insightful discussion. Easily. (Ask about red paint and it will be a week-long conversation.) There are, of course, those who keep their mouths clamped tight, but for the most part, I am always impressed with how generous marblers are in the sharing of their knowledge (especially considering the historically secretive nature of the art form).

I would give anything to have another marbler living near me. There are not a lot of us out there to begin with and those that are are spread all over the world. There are many miles between us. On top of that, marbling is not an art form that is granted permanent displays at museums (and very rarely is it given a temporary one even). My opportunity to see other works of marbled art is limited to websites or books. And while that satisfies me briefly, there is nothing like seeing and holding a marbled piece in person. NOTHING. I cannot tell you how many people who see a marbled piece I've posted online and then see it real-time comment, "Oh, my! That's not what I expected at all!" Marbling is one of those art forms that truly needs to be experienced firsthand to be fully appreciated.

Late December, I was feeling particularly isolated in my work and was overcome with a desire to be with other marblers--but short of hiring my own private plane and jet setting around the world, I knew it wasn't going to happen. That's when the idea of a paper swap popped into my head. For those who don't know what that is, a swap is where you are given the mailing addresses of a list of people who want to participate in the swap and you send one marbled piece to each of them. In return, each person on the list sends you one piece.

I posted the paper swap idea on the marbling board and immediately got 10 enthusiastic and delightful artist from all over the world--Israel, Australia, the UK, Canada, each coast of the US and in between-- wanting to participate! I was so excited.

And then the papers started to roll in.

Exhilarating. Beyond my wildest dreams. Electrifying. Intoxicating. When I held in my hand the first piece that arrived in the mail, I was nearly moved to tears. And then the next one came in and it took my breath away. And then the next one and the one after that and up until the very last piece...envelope after envelope delivered one beautiful piece of art after another until all I could do was shake my head in wonder and awe. As each piece arrived, I studied it like any true enthusiast, holding it close to absorb the details and then afar for perspective, exploring the surface, turning it over to see the original paper, again and again until I knew each piece so intimately, I felt obligated to buy it a drink. The papers also came with a brief history of the artist--how and when he or she got into marbling, the type of bath and paints used, favorite paper to work on. After reading these stories and picking up the papers again, they began to take on a life of their own, vibrating with their creators' energies. It. Was. Spectacular.

All the papers posted here are from that swap. Not one is my own work. They are, however, proudly displayed in my studio, a mini-exhibit of sorts, granted permanent status in my very own museum dedicated to the art of marbling. I'm so sorry most of you can't experience these firsthand...but I am grateful to have at my fingertips such treasures to reach for the next time I need a marbling fix.

Many, many thanks to the artists who participated, for making the time to do it, for being curious about the work of others, and for bridging the gap between us. You are a source of inspiration and fuel my passion for marbling.

Becoming Linked

I had lunch yesterday with Annika Buxman of De Milo Design Studio and Letterpress. Wow...what a woman with an interesting story and gorgeous talent! Annika emailed me after the Arts Crawl to let me know she enjoyed my marbling demo and then asked me to lunch! It was such a delightful gesture that I couldn't refuse. After our tasty meals on the sunny patio of Fiore Market Cafe (the lunch spot I'm ALWAYS talking about), we went back to her studio and I got the chance to peek around her creative space. I love seeing other artists' studios...there's something so magical about them (and her space was so CLEAN and ORGANIZED!!).

I met Annika originally last October when Emmett and I passed by her studio at the previous Arts Crawl (when we were just "regular" participants) and was lured in by the layers of MARBLED PAPERS she had hanging on her walls. I. Was. Floored. There must have been 50 of them. Until then, I had not known of anyone else in the entire LA area who even knew what marbled paper was, let alone had an extensive inventory of original work. Turns out, she buys these papers from a Fair Trade organization in Bangladesh that provides working opportunities for women impacted by an oppressive cultural system. She then incorporates them into her Sustain & Heal line of invitations and stationary and other beautiful works of art. (Be sure to check out her Sustain & Heal blog.)

During our afternoon together, I was impressed by Annika's passionate commitment to her Sustain & Heal efforts. "It is very important to me," she said with such conviction that the tone of her voice and body language changed from light and airy to serious and driven when she spoke those words. And later when I commented on how inexpensive her papers were considering the headaches of importing, the challenges of working across language and cultural barriers, and the costs of shipping paper (which is deceptively HEAVY), she said her goal wasn't to make money off this adventure but to connect with these women and offer them business opportunities so they may support themselves and their children. I could feel the importance of her efforts in the pulsing energy she gave off.

When I launched Hope's Flame shortly after I left my Corporate America job, one of the driving forces behind it was raising awareness and money for four nonprofit organizations that were very close to my heart. I was donating 30% of my profits to these wonderful causes and it felt SO good that it propelled me on a daily basis. Like Annika and her marbled paper, I wasn't making candles to become rich. I simply wanted to cover my expenses and "pay it forward." The business philosophy touched the hearts of so many people, including Linda Mechanic, owner of Peach Tree Pottery and Studio, who would give me my first retail opportunity by selling Hope's Flame candles in her studio and by participating in her annual Holiday Show. In this way, I was able to reach even more people about the nonprofits I supported. It would also lead to very precious friendships with Linda and two other women who have been instrumental in my current life. It should come as no surprise that these women also have philanthropic projects they participate in.

So after returning home from my lunch with Annika, I realized that now that Hope's Flame is on hiatus, I am not ACTIVELY involved in promoting and building awareness about a nonprofit. Yes, I still donate my personal time and money to worthy causes, but I haven't LINKED my marbling to anything. And it's time to. I've been very busy, the past year especially, learning the ins and outs of becoming a marbling artist--from becoming better at the art form itself to marketing and selling my pieces--and now it feels right to add another layer, that of helping others, to this adventure.

I have the blessed luxury of a husband's gift of time and financial support in addition to his unwavering belief in me and constant encouragement. I don't take these gifts for granted and am conscious of making the most of them every day. I want to be able to offer something similar to someone or something else. Hope's Flame's mission was to support causes that contributed to the hope of another person, an animal, or the earth. I still like that mission statement and it continues to feel relevant to who I am and what I believe in. I will spend some time over the next few months figuring out how to incorporate it into my marbling.

Looks like I've just added another goal to my 41 for 41 list!

Getting Ready for the Arts Crawl

[slideshow] I am SO excited for the South Pasadena Arts Crawl this Saturday. In addition to my marbling demonstration at Book'em Mysteries (from 5 p.m. to 9 p.m.), I put together a little slideshow of a few things I'll have for sale including individual papers, note cards, framed artwork, and more!

Hope to see you there!

South Pasadena Arts Crawl Saturday, February 11 5 p.m. - 9 p.m.

Book'em Mysteries Bookstore (conveniently located next to Mission Wines!) 1118 Mission Street South Pasadena, CA 91030

Title

My new business cards arrived yesterday and I'm very pleased with them. They have an American pattern on front (my current favorite to make) done in subtle white and brown with hints of yellow and pops of bright blue all marbled on this funky chocolate-brown paper. On the back is a New Jersey ripple pattern in bright yellow and green, peppered with cool spots of light blue. Soothing on the front. Energetic on the back. I think it works.

It feels weird to give oneself a business card, let alone a title on that business card, especially that of "artist." When I worked in Corporate America, I always took on a title or was given a new one when promoted. In either case, I didn't have a voice in naming what I did...and that never bothered me. It was just work, after all. Unlike many of my colleagues, who always seemed obsessed about their titles, I used to say my employer could call me Monkey Doo-Doo Big Butt Face, as long as they paid me well and paid me on time.

But this right now...this is my LIFE. I didn't quit my job seven years ago so I could go on to being MORE Corporate America. I quit my job so I could do something that is A PART of my life, part of ME, not separate from them the way my first career was. I struggled FOREVER to figure out what to put on the masthead of this blog so it should come as no surprise that I was absolutely freaking out about what to call myself on my new business card.

For a long time, I felt that "artist" was a title that should be bestowed upon one, not taken up. You don't get to call yourself an artist the same way you don't call yourself a "hero" (even if it's true). Perhaps that's the Midwesterner in me...I'll take another piece of humble pie, please. I told this once to my friend, Christine, who looked me right in the eye and asked, "Why can't you call yourself that?" She wasn't asking a rhetorical question. She seriously was baffled. And I had no answer for her.

But another reason I had a hard time coming up with a business card title is because I don't like to be labeled. More specifically, I don't like to be pigeonholed. If I call myself an "artist," does that mean I have to give up my "bookbinding" self or my "chef" self or my "conservationist" self? I am all these things too. How do I choose just one title/label without feeling like I'm abandoning all the others?

That's when I decided to add "and so much more" to the title of "artist, marbler, writer." It gives me a little (or a lot of) wiggle room, some space for me to continue to explore myself and what I want to be when I grow up (whenever that will be). It also is an homage to my favorite way to describe myself: while I'm not really good at any one thing, I am a little bit good at a lot of things. And I wouldn't change that for the world.

I think Christine will be okay with that.

Hello, February!

Why does it already feel like the year is flying by? It's only the second month yet I can't help but feel so much has happened while at the same time not enough has happened. In other words, I'm starting to panic about getting things done. I think part of this is coming from my 41 for 41 list, which technically started in November thereby making my "new year" three months old. And some of it is coming from a hard-driving process that my friend, Ann, and I are doing called "micromovements" (more on that in a second). But I also suspect that my decision to embrace marbling as my "second career" is contributing to this sense of rush. I feel like I have a lifetime of learning I need to cram into the next minute, hour, day, year because I got a "late start" (how could I not have known about this art form until I was in my 30s?!!). I want to be a kick-ass marbler and I want to be that NOW.

This is all to say that I'm beginning to have a love-hate relationship with my to-do lists. I'm digging my 41 for 41 because I'm doing things that always "fell between the cracks" year after year--things that were easy to put off until "another time" but that time always ended up just floating out there and never anchoring. But this list also makes me anxious because if I'm not crossing something off it every single day, I feel like I'm not doing anything. And then I get mad at myself.

That's where the micromovements come in. Some of my goals are straight forward and easy, such as a visit Watts Towers. To accomplish this, I just need to look up the hours it's open, pick a day to go, and determine how to get there. Simple. But some of my goals have many more layers to it, like becoming part of my local art community. With the micromovement process, I break that big idea into lots and lots of little steps, pick one of those little steps, and get it done in a set time frame (Ann and I meet weekly). Then the next week, I pick another little step and get that done. And so on and so on until there are no more little steps left and the big goal is accomplished! Micromovements help manage the sense of feeling overwhelmed (not to mention the feelings of fear and uncertainty) that often comes with BIG, IMPORTANT, MEANINGFUL goals that leave us like a deer in headlights: where do I being, how do I get there, what the hell am I doing?

And, like my 41 for 41 list, I have a love-hate relationship with my micromovements. First of all, they work. Boy do those micromovements work! I've gotten things done that I don't think I would have had I not taken those baby steps toward accomplishing something. Secondly, having Ann as an accountability partner makes a huge difference. It's not only motivating, supportive, and inspiring, it's much more fun! And thirdly, I'm definitely feeling more confident these days when approaching something new.

On the other hand, micromovements are ALWAYS there, sometimes whispering, sometimes shouting at me. I have moments where I want to tell them to f-off and that I'm going to do what I want to do today...which usually has nothing at all to do with a single thing on any of my lists. And that's when I feel guilty.

I just got back from an unplanned week away from home (I was in Florida helping my sister-in-law recover from a medical situation) which means I was away from all my lists and micromovements and everything one is normally responsible for doing during a day or a week. All I did was what had to be done at the very moment. No planning. No crossing things off lists. Just reacting. And it felt really, really good to do that.

Upon my return, I took a step back and looked at my goals and lists and micromovements and decided to start clean. I threw away all to-do lists, re-prioritized goals, and took on fewer tasks than I had been taking on these past few months. And I think that's what we all need to do every once-in-a-while. We create these lists and have grand ideas of what we want to accomplish and then dive right in coming up for air only when we have maxed out our lungs. And that's not all bad. Focus, action, and accomplishment are the whole point. But it can also get out of control. I think we need to build into these lists time for reflection, for a break, for CELEBRATING all that we HAVE done so far and all that we GET TO DO down the road. I don't want to become a slave to my lists. I want them to be as alive and beautiful and adventuresome and fluid as I am.

I love you 41 for 41 and micromovements. Thank you for getting me here today. But as in any healthy relationship, it's necessary to have your own time too. Instead of seeing February as another passing deadline, I'm going to enjoy February for what it should be--the second month of the year, Black History Month, the month of love, the month where I participate in the Arts Crawl, and, most importantly, some time for living life off the list.

South Pasadena Arts Crawl: I'll Be There doing a Marbling Demo!

I am VERY excited to announce that I'll be participating in the South Pasadena Arts Crawl on Saturday, February 11. I'll be doing a marbling demonstration from 5 p.m. to 9 p.m. at Book ‘em Mysteries (1118 Mission Street). I'll also have cards, individual marbled papers, and framed artwork available for sale.

The South Pasadena Art Crawl is a FREE event offering something for everyone: gallery openings, artwork across all mediums, live music, and interactive art experiences. Charlie Chaplin’s Modern Times, a black and white classic, will be played on the side of the Iron Works Museum, courtesy of Videothéque (our FAVORITE video store!). For more details, check out the South Pasadena Chamber of Commerce.

All attractions at the Arts Crawl are within blocks of one another so you can easily park and walk to everything. Restaurants will be open and Food Trucks will be on the street. Shops and boutiques (South Pas has so many really cool stores) will offer special sales in what’s being billed as a “neighborhood night-on-the-town.”

Emmett and I attended the last Arts Crawl in October and had a wonderful, wonderful evening. I had no idea there were so many AMAZING artists and SPECTACULAR galleries in South Pas! I even splurged and bought a piece of artwork for myself (which I am still madly in love with!). It's because of the Arts Crawl that I put "become a part of the South Pasadena art community" on my 41 for 41 list.

I hope you'll come out and enjoy an evening filled with wonderful artists and musicians as well as take in the unique feel and charm of South Pasadena. It's why Emmett and I love living here!

When Everything is Aligned Just Right

First things first...the winner of my first giveaway, a marbled calendar, is Bridget! I'm thrilled the calender will be replacing the freebie Fleet Farm calendar she currently has up in her house (only those from Minnesota will understand what I'm talking about). But everyone is a winner when they read my blog so all who left a comment will be getting a little surprise in the mail as well. What can I say...I'm a giver.

The above pattern is called a Chevron. It is an easy one to make: a Getgel and then two straight-forward passes of a rake. Any marbler with even an ounce of experience at the bath can do it. But sometimes even executing an easy pattern can make you feel like you just unlocked the secret of marbling.

I have made countless Chevrons, but this one, when I lifted it from the bath, really made an impression on me. It looked like no other Chevron I had ever done before. There are two reasons for this. First, this was done during one of my pattern practice sessions so I was incredibly conscious of my strokes, the position of my body relative to the tank, and even my breathing. There are times when I marble just for the fun of marbling and I'm less focused on execution and more focused on playing and experimenting. I'm not necessarily being "sloppy," but I'm not as concerned about precision like I was when I made this Chevron.

Secondly, the bath was at the absolute perfect depth to produce just the right amount of drag to create those long, pointy arrow tops. And that's why I love this piece so much. LOOK AT THOSE POINTY TOPS!! They seem to go on forever. You'll notice the ones on the bottom are a little shorter than than ones in the middle and top. That's usually what my Chevrons look like. But not this time...they are long, long, long!! Check this one out:

Every pattern has a "sweet spot" on the bath. Putting aside variables such as temperature, humidity, etc., the depth of size in the bath plays a key role. Deeper baths are wonderful for Getgels, Chevrons, and Nonpariels whereas shallower baths are more suitable for Bouquet or Peacock.

So when I made these two pieces, one right after the other, the depth of the bath was perfect, my concentration was solid, and the temp and humidity level were on my side. Everything was aligned just right, a rarity in the marbling world. And I'm thrilled to have experienced it!

Beauty...and my first giveaway!

Look at that gorgeous pattern! It's called a Double Cabled Nonpareil and I'm in love with making it. I used to hate this pattern. I thought it was ugly and I didn't have fun creating it. But I've been marbling in a smaller tank these days (11 x 14 vs. my regular 20 x 25), partly because it's easier to set up and tear down a small tank for a quick-hit marbling session (which is all I've had time for lately) and partly because it allows me to practice patterns more easily...even the ones I thought I hated!

In a small tank, I can practice a pattern four times to every one time in the big tank. Economically it makes sense too since four small sheets of paper cost the same as one big sheet. And since one of my goals for this year is to master 30 or so traditional marbling patterns, it's best to stick to the most efficient and cost-effective practice practices!

And speaking of practicing, I'm experimenting with scanning and taking photos of my work in order to see how they turn out in commercially printed things such as calendars and fabrics for quilting. My first such project was to create a 2012 calendar using Snapfish.

I'm not a huge fan of Snapfish's quality (I've had regular photos printed by them and have been very disappointed in the product) but this was just a practice run for me, they had the particular STYLE of calendar I was looking for, and they offered me a buy-one-get-one-free deal. In the end, I was quite pleased with the way my photos scanned and how they turned out on the calendar. There are two that didn't turn out at all but now I've learned that highly textured papers DO NOT scan well (February's marbled piece) and neither do metallic paints (December's marbled piece). But I really am digging the rest of the calendar!

So I have an extra 2012 calendar to give away to one of you, my wonderful followers! Just leave a comment (all you have to do is say hi!) by 5 p.m. PT, Thursday, January 19, 2012. I'll pick a winner and drop it in the mail to you on Friday!

Good luck!

New Month, New Header!

It's the beginning of the month and that means a new header! (Note to self: you have to come up with a better intro for these posts...you say the same thing every time.)

This header was created with a pattern I was practicing in the studio a few weeks ago--the New Jersey Ripple. The full sheet looks like this:

It's probably hard to tell in a photograph, but the New Jersey Ripple (and its parent pattern, the Spanish Moire) has an illusional affect on the viewer. It looks as if the paper, indeed, has ripples--like when a pebble is dropped into a pond of water.

I've practiced the Spanish Moire many, many times and can't get it down but I had no problems nailing the New Jersey Ripple. This kind of stuff drives me up the wall about marbling (in a good way!) and speaks to the subtly of the craft. The two patterns aren't that different from one another. With the Spanish Moire, you gently rock the paper corner to corner as you lay it down on the bath. That's it. You do the same rocking motion with the New Jersey Ripple, but with the Ripple, the paper is folded horizontally and vertically a few times before laying it down. I'm not sure how that affects the making of the pattern but obviously it does.

Given the history of the Spanish Moire, you'd think this would be my specialty. The story goes that after a night of heavy drinking, a marbler came into work and started laying down paper but because of his hangover, his hands were shaking. Thus, the Spanish Moire was born. Like I said, this should be up my alley, but alas, it alludes me. I'm tempted to leave the Moire behind and just stick with the Ripple but I don't like the folds that are left behind on the paper. You can get them out by ironing the paper or giving it a couple extra squirts of water and putting it under boards for a few days but that's such a pain. So I guess I'll continue my quest to produce at least ONE good Spanish Moire sometime in my life...even if it means many nights of heavy drinking! It's a sacrifice I'll have to make for the greater good of the profession.

Cheers!

Excited About This!

I was going to hold off on talking about these until things were closer to finalized (as in actually buying an inventory of materials and making a few up) but as the weekend wore on and I kept coming back to them over and over, I just had to share them.

These are cards with my marbled papers. The cards have a final size of 5 x 7. My paper doesn't sit on top of the card. It fits INSIDE the framed window, so it gives it a matted-framed look. And, the thing I like about these cards, is that they ARE perfect for framing. So you're not only giving a card to someone, you're giving them a ready-to-frame piece of art. I'm hoping to have some ready to sell by mid-January.

I've been hesitant to turn my papers into cards, or what I consider to be plain ol' cards where the marbled paper is the card and not featured on the card. But these new frame cards feel right...it shines a spotlight on the beauty of marbled papers and makes them the center of attention.

What more could a marbler ask for?

Giving the Gift of Marble

One more post about marbling and then I promise to move on to a different topic for a few posts. I recently had the wonderful opportunity to give a couple of my marbled pieces to people as gifts. The first one was to my hubby, Emmett. (And yes, I count that as gift giving.)

During my last marbling session, Emmett came home from a long day at the office, grabbed a happy hour drink, and meandered into my studio to take a look at my latest creations (talk about a supportive husband!). He was immediately drawn to one particular piece--a large square of canvas that had a stone pattern on it. I was touched by his sincere admiration of the piece, which he kept returning to with much exclamation ("Babe, this is really beautiful!"), and decided to frame it up for him for is office. I figured that even if he decided he didn't want it there, I could find a spot for it in our home (after all, I loved the piece, too) or sell it at the Peach Tree Holiday Show. Well, I didn't have to worry about those alternatives as Emmett happily took the piece to work.

I love knowing this piece is in his office, that a little part of the creative me is there with him (besides the cards I frequently send him that he displays on one of his bookshelves), and that he finds my work not only interesting and professional enough to display, but proudly does so. He told me that after he put it up, the next person to walk into his office immediately noticed it and wanted to know more about the art of marbling. I love that! It's all part of my grand plan to bring marbling to the masses!

The other marbled piece I gave as a gift was to my lovely friend, Bill, for his birthday. Bill and his husband Kelly recently bought a vacation get away in Idyllwild. We celebrated his birthday there last month and my gift to him was professionally framing a marbled paper of his choosing. When I brought out my portfolio and started going through it, he immediately zeroed in on a piece and said he just HAD to have it. And this is the end result:

Bill chose a lovely bouquet pattern made on red Italian paper (oh, how classy!) with accents of gold (oh, how classier!). It is a piece that I knew was special but didn't know what was going to become of it. And then along came Bill. In his own words:

The stunning piece you gave me for my birthday continues to rule over the Idyllwild house. For those of you who haven’t seen it, the piece was made on red paper and is done in my favorite colors, red and orange with touches of gold. This happens to be the colors in the chairs of our living room and we had not found the right piece to hang over the mantel in that room. When Barb gave me my choice of about 30 pieces of paper she’d made for my birthday, I instantly knew that was the one! A few weeks later she arrived with the piece framed in beautiful gold and snuck it into position over the fireplace. I noticed it IMMEDIATELY because it so perfectly tied the entire room together. It even matches my FRINGE. And continues our tradition of filling our home with art made by our friends. So all hail to Barb, master paper maker and great, great friend.

Wow! Does a thank you or praise or endorsement get any better than that? I am simply in heavenly bliss knowing my marbled piece is in their beautiful, warm, and inviting home. How lucky am I?!