A good image: worth a thousand words

As you know, I try to scan every collage - even the small collage tags - into the archive. They are scanned at a super-high resolution - usually 800 dpi and above. Some say that's overkill, but the resulting prints are beautiful, and true to the originals. Well, as true as they can be, given that they're flat - not layered.

However, sometimes, a deadline looms, and there's not time to have pieces scanned. This wasn't a problem until recently, when I began making collages larger than the 9"x12" size my scanner accommodates.

Of course, I tell myself it will never happen again, then, gulp, it does. Usually, it takes a few days to get an image scanned. I hope to build that into my deadlines in the future.

You might ask, how about a photograph? Well, that works fine for some art, but in my experience, photographs don't capture the nuances of the antique engravings that are often part of my work.

Below are examples of three collages that were scanned recently, and the images of them that were posted before the scans. The collages were framed at this point, so they had to be removed from the frames. Happily, my framer put them back together at no additional charge, one benefit of establishing a strong, working relationship with her.

The Grand Tour: Bird's Eye view - scanned

In the photo, the entire image is washed out, especially the map.
It's missing small, last-minute changes, because I didn't have my camera
at the studio. I now keep it there, because even a so-so photo
is better than not having any image of a finished piece.

The Grand Tour: Riding the Waves - scanned

Note how much more detailed the clothing is in the scanned image. As in the previous
piece, the photo's minus work done after it was shot. The perspective's off, too,
which is kind of cool but doesn't reflect reality. And to think that I was so desperate
to post the image, that I did. Mea culpa.

The Grand Tour: Wild Things - scanned

  

You know what I am going to say, the difference between
the two is that obvious!

Then and now: the studio one year later

Last April, I published a post about the new, spacious studio I had moved into at Brazee Street Studios in Oakley. At that point, I'd been at Brazee for a year in a smallish studio on the second floor. I loved it and enjoyed the company of the other artists on the floor. But when a bigger studio on the first floor opened, I jumped at the chance to move.

The photos from then show an organized, neat space. Well, as the saying goes: what a difference a year makes. Here's a look at it now ...

Looking toward the back. 

Another view of front "counter" and card racks.   

A chandelier-like ornament hanger appropriated for the "Fit to be Tied" collages tags.

Small gallery of food-themed collages to the left of the doors. The pedestal holds
a guest book for visitors to sign up for my snail mail and/or e-mail lists.

Another view toward the back, showing a card rack waiting to be restocked - which happened
 earlier in the month, before the first Open Studio of the year. In front of it: "Stuff I Can't Bear to Cut Up"
print rack, with 1932-33 Fortune magazine covers that are so beautiful they should be framed and
hung as - not used in collages. I had them matted to fit ready-made frames.

The "lounge" area, one of my favorite spots. It's nice to have a space to sit and talk
 to friends/visitors/clients. A few months after moving, I found narrow, real wood bookcases 
at IKEA that fit the niche perfectly. The view is toward the front of the studio, an open space
 that is the "gallery." 

View from my work tables looking toward the front of the studio. Part of the growing stash
is on the right. I added one more of the large, wire shelving units after the move.

Tools - within a hand's reach on a work table.

A wire, rolling bin - from The Container Store - was added for larger, rolled paper. 
On my wish list: a flat file, which is where larger paper should be stored
so that, yes, it remains flat.

An extra card rack holds larger mats that I use as "framing" devices when making a collage. 
Rolled maps on the wood drawing table. The small cart on the left holds
 prints waiting to be matted for the "Stuff I Can't Bear to Cut Up" bin, 
as well as cleaning supplies (in the black box).  

Framed collages waiting to be delivered to Cincinnati's 1305 Gallery. The show 
ended Sunday, and a number of these are back in the studio. 
Hope to have them hung - not sitting on the floor - within a few days.  

More yumminess ...

Having more yummy fun related to the birthday/anniversary celebration of Cincinnati's BonBonerie Bakery. A birthday exhibit opens 8-11 p.m. Friday (April 12) in the bakery's cafe.

I created a trio of cakes for the show. The first two are purely decorative, a departure for me. But as I said in a Facebook post, there are times when you have to give into your inner sugar. The third one, has a story behind it. 

All are on Ampersand's cradled Claybord panels, which have a hardwood base. The wood sides are coated with clear varnish to allow the wood to show. I like that look. Since they'll hang as is - no protective framing - each is sealed with multiple layers of Mod Podge's Hard Coat (which is less sticky when it dries than some other sealers).

The wedding cake - made up of layers of Victorian needlework illustrations - also has piles of Victorian scraps in wonderfully muted colors. Most were a gift from my friend Shirley Tenhover, who I'm sure will appreciate how they have been used. She is, after all, a former cooking teacher and restaurant consultant. 

© Classic 14 Layer Marble Cake

$175

Mixed-media collage by Sara Pearce: original antique trade card and
color charts  (Textbook of Art Education: Book 6, Prang, 1904); vintage
 blueprint  (King Machine Tool Co., 1947); recycled hand- and machine-printed
marbled paper; fluid chalk, acrylic paint, ink; acrylic sealer & varnish; 
hardwood panel. 12" x 12" x 1" (2013)

© Love's Offering

$175

Mixed-media collage by Sara Pearce: original antique embroidery 
engravings (Godey's Lady's Book, Feb. 1858,  April 1859, March 1860, 
Jan. 1864,  Feb. 1865; Peterson's, Jan. 1862, July, 1868, April 1870, 
Nov. 1873, April 1880;  Delineator, April 1891)  and scraps; 
recycled wrapping paper; image transfers;  fluid chalk, acrylic paint,

 ink; acrylic sealer & varnish; hardwood panel. 12" x 12" x 1"  (2013)

The Beginning of the End:

Eve Offers Adam a Piece of Fruitcake

$175

Mixed-media collage by Sara Pearce: original vintage prints and scraps 
(Treasures of Venice, 1963;  Great Prints and Printmakers, 1967); 
recycled wrapping papers;  fluid chalk, marker, ink; acrylic sealer & 
varnish; hardwood panel. 12" x 12" x 1"  (2013)