Allison Stein, Artist & Author

Why, ETSY? Why do you forsake us sellers?

2011-03-09T21:28:00.001-06:00

As some of you know, I've had an ETSY shop since 2007. Although for me it's a hobby site, rather than a true business, my ETSY shop provides a venue to show my art, share links and widgets to showcase art on Facebook and my websites, and, most importantly, an e-commerce platform to sell my art worldwide.

However, there have been major changes at ETSY, and most likely there are more to come.
ETSY's focus is changing from enabling individuals to sell their handmade and vintage items to creating a new social network, like Facebook. In doing so, they've gutted the functionality that enabled sellers to sell and for their items to be found.

They've eliminated the popular community forums, regularly feature a small subset of sellers on the front page, removed "shop name" from the search options, broke the search function entirely, subdivided the community and pushed seller interaction into narrowly focused "teams", emphasized building "circles" based on "taste", muted sellers for asking legitimate questions, and enabled mass market resellers to masquerade as artisans of one-of-a-kind handmade items.

As a result, ETSY's changes are making it harder for buyers to find my shop and buy from it.
Success in the new ETSY environment requires a major time commitment to build circles and select favorite items from other shops, build "treasuries" of items from various sellers that are color-coordinated and artfully arranged, and monitor team discussions and off-site blogs and forums to stay current on what's changed and how the changes impact your business.

In essence, to remain visible on ETSY, I need to spend more time chasing my own tail on ETSY than I currently spend actually making art. I'm not willing to go there.

So, current plans are to let my ETSY shop wind down and focus on making art for my next three shows (ConQuesT, SoonerCon, and Archon). I'm also considering ramping up my Zazzle shop to offer more images on more items, and making my originals available for direct sale through my blog.

I'm open to suggestions. Feel free to leave comments.

Let that be a lesson to me...

2011-01-25T10:36:00.001-06:00

I've been working on both versions of my art journal workshop exercise off and on for the past few days, squeezing in a scribble here, a smudge there, and a swipe of the paintbrush in passing.

Right now my desk is covered in supplies -- my color journal and my art journal, various watercolor pencils and watercolor crayons, pens, brushes, paints, and various other implements of artistic nature. And -- most significantly for this story -- a jar of water to rinse my brushes.

At least, that jar of water HAD been on my desk. When I walked away from the project early last evening, I forgot to empty it. Mayhem (one of my loyal feline studio assistants) took care of that for me.

You know it's a bad thing when you're sitting downstairs and hear a hard clink, a soft thump, and the sound of water hitting a hardwood floor in your office above.

The damage to the desk, floor, and supplies was minimal. (The toe I stubbed on the chair in the dark, however, not so much.)

Let that be a lesson to me: empty the water jar. No exceptions!

Art Journal Workshop 1: Do-over

2011-01-20T15:29:00.000-06:00

My first attempt at the Strathmore Visual Journal workshop exercise was less than satisfying. I didn't like working with the oil pastels. I thought the charcoal dirtied up the page. I didn't have gesso, so I used a semi-opaque watercolor instead.

So I decided I needed a do-over, using materials that I'm more comfortable with. After all, they keep saying it's all about the process, right?

Steps from Lesson 1

I resized the sketches and reformatted the text and printed them out.
I prepped a two-page spread with a random application of turquoise watercolor, added texture, stenciled stars, and random sprays of ultramarine blue.
Strips of blue metallic tissue paper provided my vertical element.
After topping it with my sketches and text, I brushed on a light wash of my turquoise watercolor to tone down the white and darken some of the shadow areas.

Steps from Lesson 2 and Lesson 3

I added a few details and "underjournaling" in white crayon, which will provide a resist under the next layer of water-based color.
Using Derwent Graphitint and Inktense water-soluable pencils and an unknown brand of watercolor crayon, I added the shading in blue and purple, and highlights in yellow and green.
A thin application of white gouache enabled me to smooth out and re-establish the white areas, and to add highlights to the eyes. I then added more shading and color.
For the stars, I made a stencil using cardstock and a punch.
I used a blue Faber-Castel brush pen to re-darken the text.

Lesson 4 is still a mystery. I expect we'll be able to access the video for it this weekend.

Artist Journal Workshop 1: Continued

2011-01-19T13:42:00.000-06:00

In an earlier post, I shared my work-in-progress for the Strathmore Visual Journal Workshop 1. Picking up where I left off, I began adding other media to the now-dry collage page.

Lesson 2 called for adding more layers and color to the page, such as using gesso to paint over unwanted elements, adding "under-journaling" using graphite, enhancing the depth and shape of the elements using charcoal, adding color with oil pastels, and pulling it all together with a gesso wash.

Lesson 3 called for adding more color and texture to the negative space and image elements with oil pastel, re-doing outlines with pencil, and adding hints of color throughout.

I made an honest attempt to follow instructions, but ultimately my method varied in several respects.

Layer 4 -- The instructions called for adding lines with graphite and then shadows and depth with charcoal. I also added conte' crayon because I liked way the reddish color echoed the layer of scrapbook paper. The charcoal just seems harsh and dirty.

Layer 5 -- The instructions called adding color with oil pastel, and then giving the whole thing a light wash of gesso. I used oil pastels as instructed, but I simply did not like working with them, and I'm unhappy with the effect. (For more on that part of the process, see "Warming up oil pastels: Cup Warmer vs Warm Cat".) I couldn't find my gesso, so I used light washes of white gouche and a mostly-opaque flesh-tone watercolor to tie the elements together.

Layer 6 -- I added more color using watercolor, a step that was not in the original lesson.

Layer 7 -- The graphite disappeared completely into the page, so I used ink where I wanted to see the lines. This is where I stopped, after adding more color, more charcoal, more oil pastel, and ink. I probably should have stopped sooner. Like the page says, you've gotta start somewhere. Knowing where to stop is something entirely different.

I still don't know what Lesson 4 will hold, but I bet it involves adding more layers to this piece. I'd like to try a do-over, using only the materials I'm comfortable with.

Warming up oil pastels: Cup Warmer vs Warm Cat

2011-01-19T10:06:00.002-06:00

I've been doing an art journal workshop, which specified oil pastels in the materials list. The object is to add color while also providing a water-resistant quality in the work.

I'm not a fan of oil pastels. I find them greasy and unappealing. I bought a set of Cray-Pas a couple of years ago at Cargo Largo, but I've hardly used them. They are just not "my thing".

Being open to new experiences, I dug out my sad, unloved box of Cray-Pas for this workshop assignment. Due to neglect, or perhaps the chilly room temperature, they were hard, scratchy, and unwilling to blend on the page. I needed to warm them up.

My hands, which are nearly as cold as the room, failed to soften the pastels enough to blend easily. I briefly considered sticking them in the microwave for a few seconds, but decided that may result in failure of epic proportions.

I considered the other two heat sources at hand: a USB-driven cup warmer and a warm cat.

On the cup warmer, I placed several pastels on a scrap of aluminum foil.
Under the warm cat, I placed the rest of the pastels, still in their box.
After 10 minutes, I tested the results.

The pastels warmed under the cat were only slightly more blendable than the ones at room temperature.

The pastels warmed on the cup warmer were significantly more blendable than the ones at room temperature and the ones at cat temperature. I used these to continue the workshop exercise.

I'm still not a fan of oil pastels. They feel like sludge under my fingers, they don't resist the water-based layer as well as pure wax or crayon, they're useless for detail, and they clog up my pens and pencils on subsequent layers. This sad, unloved box of Cray-Pas is going back into my box of seldom-used supplies.

Artist Journal Workshop: Getting Started

2011-01-17T19:02:00.002-06:00

I signed up for the Strathmore Visual Journal workshop series. I was intrigued by the idea of working with new media (collage) in a new format (bound journal).

I'm getting a late start because I packed up my office/studio over the holidays so I could remove the carpet. I'm still unpacking, but I'm itching to get caught up on this workshop.

Today I watched the first 3 of the 4 lesson videos in Workshop 1, and I've read many of the discussion forums. I must admit I'm baffled at the concept. The materials and the process I understand. The purpose of doing so, not so much. Then again, the whole reason to take a class in something new is to stretch your mind and your comfort zone, right?

Since I always start a new sketchbook by jotting down "New Sketchbook!" and the date, I took a similar approach to this new project -- but in the spirit of the workshop.

I resized some scans of sketches I did last summer, and manipulated the fonts and font sizes on a few phrases until I had a starting place. I printed them out using my Epson Artisan 710 on plain inkjet paper.

I cut the images apart and moved them around on a blank page until I was satisfied with their placement.

The arrangement was very horizontal, so I decided it needed a vertical element. I chose a piece of scrapbook paper, mainly because it was a color and design I'm least likely to use in cardmaking. I ripped it into strips, then used YES paste to glue them to the page.

Next, I glued down the sketches and phrases in the arrangement I planned out in Step 1.

From previous experience, I know that YES paste causes my paper to curl, so I've placed a heavy book onto to hold it flat until it dries.

Next up -- add color!

What is an ACEO?

2011-01-10T15:09:00.006-06:00

Using magnifier to paint detail
Originally uploaded by AllisonStein

Most of my recent paintings have been in a size format called "ACEO", i.e. "Art Cards Editions and Originals". ACEOs are essentially miniature paintings in a standard size of 2.5 inches by 3.5 inches -- the same size as a trading card or gaming card. Other than that, they can be in any media and on any subject. Some ACEO artists even work in fabric and clay!

My ACEOs are usually created in watercolor and ink. Here is my process:

Paper: I start with a 9x12 block of 140 lb. professional-grade acid-free watercolor paper, usually Arches cold pressed or Fabriano rough. The 9x12 block enables me to work on 8 or 9 images at one time. Of the 9, I may get 2 or 3 that I feel are my "best work". (If I only have 8 images, I use the 9th section to test colors and tonal values.)

Sketch: Using a 2H pencil, I mark off the boundaries of the individual paintings and sketch an image into each one. Sometimes I work with variations on a theme; sometimes the images are completely random.

Underpainting: I add an underpainting using a water-soluble pencil or watercolor paint to establish tonal value.

Painting: My next step is to execute the painting. I use Daniel Smith watercolor pigments, which are highly pigmented and so very yummy to use. I love the Daniel Smith PrimaTek mineral pigments, especially those made from gemstones such as lapis, turquois, and amethyst. I've also become quite fond on their iridescent gold, which I've been using on dragon scales and moonbeams.

When working at this small size, I sometimes use a lighted magnifier to see where to place the tiniest of details, such as the highlight in the eye of this seadragon (pictured). This particular piece was already trimmed out of its 9x12 sheet because I had finished several of its companions and matted them for a show.

Inking: After the paint dries, I add a touch of ink to define detail and make the image "pop". I currently use Micron acid-free ink pens, but I've also used Faber Castell and Prismacolor markers. I also add my mark - my stylized initials and the year - in gold ink.

Trim: When the art is complete and dry, I remove the page from the watercolor block and trim along the boundary lines, which gives me a final 3" x 4" painting. If I sell the painting as an "ACEO", I trim it down to the official 2.5" x 3.5" size and insert into a hard plastic protective sleeve. (I use the same "toploaders" that card collectors use.) If I mat the painting to display at a show, I leave it untrimmed, and the raw edges are hidden under the mat.

Title: On the back of each, in pencil, I add a title, the copyright notice, date of creation, and my signature.

So there you have it. I enjoy working in the ACEO format, as it gives me a chance to play with ideas as well as achieve a sense of completion in a short period of time.

Goodbye, 2010! Hello, 2011!

2011-01-01T17:15:00.001-06:00

Merry Christmas!
Originally uploaded by AllisonStein

Just wanted to share my annual holiday card art, a little late though it may be! This year's art featured Mischief and Mayhem, my loyal studio assistants.

I didn't blog as much as I would have liked in 2010. I intend to be better in 2011.

I made a solid effort to keep my ETSY shop fresh and stocked in 2010. My traffic and page views were up, my sales continued to be abysmal. It did, however, provide discipline to keep creating new art and scanning it into my archives.

I also spent a fair bit of time doodling in my sketchbook, creating new mini-paintings, and looking for inspiration in the blogs of other artists.

Other highlights of my artist life in 2010 included:

February - Kansas City Science Fiction and Fantasy Society's February meeting. Fellow artists Jan Gephart and Robin Bailey and I displayed our worked and talked about our creative process.

April - Sprint's "Art From The Cube" art show. Received a 2nd place ribbon for "Rain Gear" in the Mixed Media category. Also showed "What's For Dinner" and "Kitten and Garlic" in the painting category.

May - Went Steampunk for the ConQuesT art show, with a new display and several new pieces of a steampunky nature, and several pieces that included real gemstone and mineral pigments from Daniel Smith.

June - Soonercon in Oklahoma City. Participated on art panels with fabulous cover artists David Lee Anderson and Bill Hodgson.

October - Busy month, with displays and paneling at Archon (St. Louis), Longview Literary Festival (Lee's Summit, Mo.) and the KaCSFFS writer's workshop (Kansas City).

November - Art at Contra, a small SF relaxacon here in KC.

December - Packed up the chaos and confusion that is my office/studio and removed the carpet. Installed new shelves. Further organization and photos to come.

That's 2010 in a nutshell. I intend to blog more often in 2011.

Demo - Grisaille Using Water-Soluable Pencil - At Loose Ends

2010-05-17T21:50:00.000-05:00

I've been working on new art for ConQuesT (Kansas City, Memorial Day Weekend) and SoonerCon (Oklahoma City, first weekend of June). I love a deadline, or as Douglas Adams, one of my favorite authors, said -- "I love the sound a deadline makes as it whooshes by my head." So much to do, so little time.

One of my first steps is the underpainting or "grisaille" -- developing the tonal qualities of the painting in monochrome using a watercolor pencil. I then go back over the piece with layers of watercolor and, sometimes, ink.

The image at right is an in-progress shot of this process. On this piece, title "At Loose Ends", I used a Faber Castell Albrecht Durer water-soluable color pencil in Mauve, manipulated with a Niji water brush. Later, I applied Daniel Smith watercolors in Rich Green Gold, Quin Burnt Orange, and French Ultramarine.

"At Loose Ends", 2.5 x 3.5 inches, ACEO, watercolor, watercolor pencil, and ink. (c) 2009 Allison Stein

Silent Cat, ACEO

2010-05-01T21:12:00.001-05:00

silent-cat-full
Originally uploaded by AllisonStein

I finished this tiny painting recently, and posted it to my Etsy shop (http://allisonstein.etsy.com) a few days ago. This one was created with Daniel Smith pigments -- the underpainting is Raw Umber Violet, with Undersea Green and Gold Ochre for the dominant colors. Some detail was added in pencil.

Whooo Me?

2010-04-23T23:14:00.001-05:00

begging-owl-full
Originally uploaded by AllisonStein

I posted this cute little guy on Etsy this evening, and he sold within mere hours. Owls are incredibly popular. I have no idea why. But I'm not above following a trend when it presents an opportunity for Teh Cute.

This was painted using Daniel Smith watercolors on Arches 140# cold press. I especially like the raw umber violet -- the brownish purple color used on the wings.

Merry Christmas!

2009-12-24T22:30:00.001-06:00

Merry Christmas!
Originally uploaded by AllisonStein

We're in the middle of a Christmas Eve blizzard of historic proportions, or so the weather geek says. Here's wishing everyone a warm and merry Christmas. Safe travels, ya'll!

I used this painting on my Christmas cards this year. It's an ACEO (2.5 inches by 3.5 inches), painted with Daniel Smith watercolors on Arches 140# paper. The text was added in PhotoShop.

If you find cat hair in my paintings, there's a reason...

2009-12-23T17:35:00.002-06:00

If you find cat hair in my paintings, there's a reason...
Originally uploaded by AllisonStein

I attempted to paint today. I have a large, fabulous desk. I have the paints, the brushes, the tools. I even have some inspiration and inclination. But I also have a furry assistant who refused to get out of the way. If you find cat hair in my paintings, consider it to be her personal contribution to a mixed media work of art.

My loyal studio assistant...

2009-12-08T15:42:00.001-06:00

My loyal studio assistant.
Originally uploaded by AllisonStein

Two problems with letting the cats into my office/studio: 1) they get cat hair in the paints and 2) they drink the rinse water.

Experimenting with Zazzle...

2009-11-22T00:03:00.005-06:00

I just opened a Zazzle store, http://www.zazzle.com/allisonsteinart*. Here are my first items, just to get my feet wet:
http://www.zazzle.com/happy_cat_magnet-147170967530462515
http://www.zazzle.com/happy_cat_button-145267265965064896
http://www.zazzle.com/happy_cat_mug-168623072563423836

create & buy custom products at Zazzle

Still breathing...

2009-11-21T23:14:00.002-06:00

Hello. It's been ages since I've posted. Life gets in the way. But I have been painting, participating in shows, and posting new items to ETSY. Take a look at the widget to your right to see what's in my shop right now. I've been reading a lot of art blogs that I hope to mention here in the near future. I also hope to post a few work-in-progress photos soon, too.

My Etsy Shop updates....

2009-04-01T22:12:00.002-05:00

I've updated my Etsy site with four items:

Making glass gem pins...

2008-09-07T11:32:00.005-05:00

Ah, there's nothing quite like the smell of E-6000* in the morning!

This morning I've been making glass pins to wear, to donate to the NFPW Education Fund auction next week, and to sell at Archon next month.

I start with a small image of one of my paintings, apply a glob of glue, then squish the gem into the glob and slide it around until the glue is evenly distributed and the image is centered. The photo shows what it looks like at this stage.

After the glue has had time to cure, I'll trim the edges, glue on the pin back, and then seal the back and edges with a mat varnish.

Alternatively, I could glue a magnet on the back, in which case I'd skip the varnish.

*silcone-based industrial-strength adhesive

Kitten With Garlic, Watercolor ACEO

2008-07-10T15:57:00.001-05:00

Cat With Garlic
Originally uploaded by AllisonStein

I posted this little cutie in my ETSY shop last night. I also have notecards available with this little guy.

What I've been working on...

2008-07-08T23:19:00.001-05:00

What I've been working on...
Originally uploaded by AllisonStein

A sneak peek at the watercolor mini paintings (ACEO size) I've been working on. I started the sketches while at ConQuest on Memorial Day weekend. I painted on it a little here, a little there, and reached this point during July 4th weekend. I still have a few details to add, and they'll be finished. My two favorites? Middle row left and bottom row center.

Trunk Show June 20

2008-06-16T22:30:00.003-05:00

KC-area Etsy Artists and Crafters Host Trunk Show
At ElJay's River Market Coffeehouse, June 20, 2008, 7-10:30 p.m.

WHAT: KCEtsy Artist Trunk Show
WHO: KCEtsy, a group of local artists and crafters
WHEN: Friday, June 20, 2008, 7 p.m. – 10:30 pm
WHERE: Eljay's River Market Coffeehouse, 412 B Delaware, Kansas City, MO. 64105

Does It Work?

2008-05-29T21:39:00.003-05:00

I've added a mailing list link over there on the upper right side of the page. If you want to be notified of my upcoming art shows, promotions, or cool new stuff in my ETSY shop, sign up! I don't intend to spam anyone. It will be a low-volume thing and I will protect my subscribers' privacy.

Time Flies

2008-05-29T15:48:00.002-05:00

Time flies! Wow!

The good news about my last post is that the paints finally dried out enough to use, but they still moisten quickly and stay moist longer. Yay!

Meanwhile, I've just finished my first big science fiction artshow of the year - ConQuesT, held Memorial Day weekend here in Kansas City. I hung about 40 pieces, mostly originals, with a stack of prints, notecards, and bookmarks in the print shop. I sold enough pieces to pay my display fees, so I consider it a good show. My little robots were popular -- I'll try to post scans of them soon.

Next up: SoonerCon, in Oklahoma City, June 6-8. This will be my first showing at SoonerCon, and I'm looking forward to it!

I've also been busy with the Kansas City Street Team for Etsy, the KCestyteam. We had a planning session last night, and it was all good. I'm signed up for the June 20 Trunk Show at ElJay's Cafe in the RiverMarket area here in KC. More about that later, too.

One small drop -- possibly a big mistake....

2008-03-18T16:10:00.001-05:00

I have several DaVinci colors on my pallet. After I squeezed them out of the tube, they never "settled in", but stayed in little piles in the corner. When they dry, they pop out of the wells and rattle around when I move the pallet. When I spritz them, they take a long time to "melt".

On the other hand, I have two Van Gogh colors on the same pallet that settled in nicely, stay where I put them, and moisten up very nicely when I spritz them.

So, I solicited some advice on an artists forum, and the answer came back with half of the replies recommending a drop of gum arabic, and the other half recommending a drop of glycerin. I chose the glycerin.

That may not have been my best choice.... 48 hours later, the paints are still liquid and gooey in the pallet wells. I'm worried that they may never actually dry again.... because that would be messy. I'm not terribly worried about cost. I got these tubes on clearance, and I don't like them nearly as much as Daniel Smith pigments.

I didn't do it! ACEO

2008-03-17T17:16:00.003-05:00

"I didn't do it!" by Allison Stein.
ACEO 2.5 inches x 3.5 inches, watercolor on Arches 140# cold pressed paper.

I posted this little darling to my ETSY shop last week. I used a combination of watercolor and watercolor pencil. The texture was created with salt. I love the expressiveness of the eyes and the color, but I do believe I've reached the limit of how big I should make them.

Joining With Kindred Artistic Souls....

2008-03-06T14:15:00.001-06:00

I've just joined Etsy's ACEO Street Team. Come visit the group blog: http://acetsy.blogspot.com/

What's For Dinner? ACEO

2008-02-21T23:14:00.000-06:00

What's For Dinner? ACEO original watercolor

Secret Smile - ACEO

2008-02-21T23:12:00.001-06:00

Secret Smile, ACEO watercolor original on Arches 140# paper

Where's My Peeps? ACEO

2008-02-21T23:10:00.000-06:00

Where's My Peeps? ACEO watercolor on Arches 140#

All I Survey.... ACEO

2008-02-21T23:08:00.001-06:00

New ACEO, posted to my etsy store tonight. Watercolor on Arches 140# paper.

Playing Catch-Up....

2008-01-20T18:10:00.000-06:00

Posting several ACEOs created over the past month or so. All were created using watercolor on 140# paper. I've posted all of them to My Etsy shop (see right column for link).

(above) "Valentine? What Valentine?"
ACEO 2.5x3.5 inches, watercolor on 140# paper

(above) "Gift From The Heart",
ACEO 2.5x3.5 inches, watercolor on 140# paper

(above) "I Will Find It!",
ACEO 2.5x3.5 inches, watercolor on 140# paper

(above) "Just One Sniff",
ACEO 2.5x3.5 inches, watercolor on 140# paper
(above) "Hello in There!",
ACEO 2.5x3.5 inches, watercolor on 140# paper

(above) "Heart, I Haz It!"
ACEO 2.5x3.5 inches, watercolor on 140# paper

Three ACEOs

2007-12-26T18:05:00.000-06:00

Three ACEOs to ponder. All of which should be posted soon in my Etsy store.

Pretty Cleo, 2.5"x3.5" ACEO, watercolor on 140# Arches

"Pretty Cleo" is another attempt at an image I posted a few months ago. She's a cutie, isn't she?

The Twilight Castle, 2.5"x3.5" ACEO, watercolor and watercolor pencil on 140# Canson

This ACEO started as I contemplated castles and landscapes. I need to start adding more environments to my work. My imagination apparently inhabits a barren, rocky world that has specatular sunsets.

Smokey Joe, 2.5"x3.5" ACEO on 3"x4" paper, watercolor on 140# Canson

"Smokey Joe" started as a practice piece, experimenting with wet-in-wet on Canson paper. He's such a well-mannered kitty.

Two Purple Princesses, 5x7

2007-12-11T23:37:00.000-06:00

(top) Purple Princess With Orb, 5x7, watercolor on 140# Arches

(bottom) Purple Princess With Wand, 5x7, watercolor on 140# Arches

I started these two paintings several months ago, but abandoned them. They seemed weak, washed out, and a little cartoon-y. Last weekend I gave them a fresh look. I decided they needed some depth of color, some contrast in tone, and some detail. So, I darkened the darks, built up some depth in the shadows, and added some detail to the face and dress.

They are still in search of a name. She's still in search of a name. For now, she's known as the Purple Princess, even though the one with the wand is a little misshapen, like a fairy godmother who has seen better days.

Pile of Pumpkins, 8x10

2007-11-19T14:31:00.001-06:00

Pile of Pumpkins, 8"x10" watercolor on Arches 140#

Another pile of pumpkins, for the season.

Pile Of Jack Wannabee's, 8x10

2007-11-19T14:13:00.001-06:00

Pile of Jack Wannabee's, 8"x10" watercolor on Arches 140#

A pile of pumpkins, for the season.

Offering, 8x10

2007-11-19T14:02:00.000-06:00

Offering, 8"x10" watercolor on Arches 140#

Another figure, exhibited at the Contra Art Show earlier this month. I'm not happy with this one -- I don't like her eyes.

Temptation, 8x10

2007-11-19T13:59:00.000-06:00

Temptation, 8"x10" watercolor on Arches 140#

One of my first successful attempts at a figure in watercolor. Exhibited at Contra Art Show earlier this month.

Dragons, Dragons

2007-09-16T22:26:00.000-05:00

Archon Orange Dragons 1 and 2, approximately 3x4, watercolor on Arches 140#

Here are two more dragons, doodled while at my artist alley table at Archon/Nasfic in August. If I do this again next year, I really need to bring a lamp. The hallway was dark, and I had trouble seeing what I was doing. Thus, these little guys are a bit gnarly and awkward.

Two dragons

2007-09-16T22:20:00.000-05:00

Archon Green Dragons 1 and 2, approximately 3x4, watercolor on Arches 140#

Two of my dragon doodles, done while at my artist alley table at Archon/Nasific in August. The size got away from me. They were intended to be ACEOs, but they got too big for their britches.

Penciled Peppers, 3 views

2007-09-16T22:07:00.000-05:00

Penciled Peppers 1, 4x6, watercolor pencil on Canson 140#

Penciled Peppers 2 and 3, 2.5 x 3.5 (ACEO), watercolor pencil on Canson 140#

I stumbled on a great deal at the outlet store -- a set of 24 Derwent watercolor pencils for a pittance. Here is a 4x6 pencil painting of three peppers, drawn from life. (And they were tasty, too.) I also did two small ACEO-sized pencil paintings of the peppers, from different angles.

Lessons learned:

1. Painting from life is easier than painting from the imagination.

2. Painting with pencils is a layering process and takes a long time.

More Contemplations on Fruit, ACEO

2007-09-07T21:56:00.000-05:00

Contemplations on Fruit, 5 & 6, 2.5" x 3.5" watercolor on Arches 140#

Here are two more Contemplations on Fruit, doodled while sitting at my artist alley table at Archon last month. Serine felines. And fruit.

4 Contemplations on Fruit, ACEO

2007-09-07T21:47:00.000-05:00

Contemplation on Fruit, 1 - 4, 2.5" x 3.5" watercolor on Arches 140#

I doodled these Contemplations on Fruit while sitting at my artist alley table at Archon last month. I'm not sure where these little guys came from, but I find them intriguing.

Who? Me? 4x6 OSWA

2007-09-05T23:16:00.001-05:00

Who? Me?, 4" x 6" watercolor on Arches 140#

I'm back! After an incredibily busy summer with back-to-back art shows, science fiction conventions, and work-related travel, I'm back in my studio and putting brush to paper. Feels good.

Here's a quick little painting, titled "Who? Me?", inspired by a silly cat photo I found on the Internet. It's 4" x 6" on Arches 140#. Looks like I need more practice with perspective.

This painting is an OSWA, which is an acronym for "Original Small Work of Art". That means it is a standard 4" x 6" size and will fit in standard photo albums and frames. Like ACEOs, the OSWA size standard is becoming all the rage on Ebay and other art websites.

Red Peppers, 4x6 OSWA

2007-09-05T23:13:00.000-05:00

Red Peppers 1, 2, & 3, 4" x 6" watercolors on Arches

Here are three different approaches to painting part of a red bell pepper.

Red Pepper 1 relies on the reds and yellows to create depth and shadow.

Red Pepper 2 relies on the blues and purples for shadowing, but I think it feels "labored".

In Red Pepper 3, I stopped trying so hard and slapped paint where ever it "felt" right. And then I stopped. I think I like this one the best.

My Favorite Dragon, WIP

2007-04-30T00:00:00.000-05:00

Cliff Dwelling Dragon, WIP

2007-04-29T23:35:00.000-05:00

Purple Gargoyle Needs A Name

2007-04-29T22:42:00.000-05:00

Purple Gargoyle Needs A Name, 8" x 10" watercolor on Arches 140#

Edit: His name is "Night Guardian"

I LOVE this guy! I'm really happy with him. I believe the paper made all the difference. Arches is the absolute best! I also used quinacrodone pigments, which are incredibly transparent -- quin gold on the moon, belly, and wings; quin violet in the body. I used hooker's green for underpainting, but I won't do that again. I'm not completely happy with its effect as a complementary color.

Another Cliff-Dwelling Dragon

2007-04-29T22:39:00.000-05:00

Another Cliff-Dwelling Dragon, 15" x 19" watercolor on Canson 140#

This is the largest painting I've done so far. The background when in quickly and easily, but I labored on the dragon a bit too much. As it stands, this will be my centerpiece in my ConQuesT art show display in late May. He might become a print, as well.

My Favorite Dragon

2007-04-29T22:36:00.000-05:00

A Dragon In Need Of A Name, 11" x 15" watercolor on Strathmore #140.

I'm really happy with the way this one turned out. I think I will make prints of him. I took great care in developing his shadows, his eyes, and the cliff.

Belly Flop

2007-04-15T22:28:00.000-05:00

Belly Flop, 9"x12" watercolor on 140# Arches

I kinda like this little guy. I might make prints of him. I was afraid I had overworked him, but I think he can be saved. I had used that shade of yellow that doesn't scan well, so I went back with cadmium yellow and cadmium orange. Also, I lifted off some of the blue to brighten his eyes. I still need to give his smile more definition and touch up his claws with some china white.

What's on the table?

2007-04-14T13:34:00.000-05:00

Another dragon, a work in progress. I'm applying very thin layers of underpainting on this one, trying to build up the three-dimensionality of this guy. Just how pale? Compare the painting to the worktable. Very pale. Stay tuned.

I'm really intrigued by his eyes. I'm not sure how I'm going to keep their expressiveness when I apply color to the pupil.

The Watchers

2007-04-14T13:28:00.000-05:00

The Watchers, 2 related paintings, 11"x15" watercolor on Strathmore 140#

I'm not sure where these guys came from. I just started sketching freehand on stretched watercolor paper. I'm not sure they're really finished. I think they lack definition in the body modeling, and in their perches.

Squareheaded Girlfriend

2007-04-08T21:27:00.000-05:00

Squareheaded Girlfriend,
11" x 15", Watercolor and Watercolor Crayon on 140# Strathmore

After working on ACEOs for so long, I had the urge to work on a larger surface. This started as a random sketch in my sketchbook, then redrawn freehand in watercolor crayon on an 11" x 15" sheet of watercolor paper. The final piece involved more watercolor crayon, regular watercolors, and the plasticwrap texture technique in the background.

Castle Glow aka The Red Keep ACEO

2007-04-08T21:22:00.000-05:00

Castle Glow aka The Red Keep,
2.5"x3.5" watercolor on Canson 140#

This started as an exercise in graded wash, and turned into a castle in the warm glow of late afternoon.

Worm

2007-04-08T21:19:00.000-05:00

Worm,
Approximately 3"x5" watercolor on Arches 140#

A little worm, in search of a book. This is a simple practice piece I started in class a few months ago and finished up last week.

Sitting Pretty On A Wall

2007-04-01T18:28:00.000-05:00

Step 1. I started this piece when I was still working with my watercolor teacher. At her suggestion, I started with a combination of new gamboge and cobalt. At this stage, there is the new gamboge layer, then a green layer with salt.

Step 2. At this point, I considered the piece done, but I was unhappy with the way the new gamboge overpowered everything else. Also, the color simply does not scan well, so I doubt I could make prints from it.

Step 3. I added a glaze of cobalt over the body and wings to tone down the new gamboge. The overall effect is more greenish, but I'm still not satisfied. I might try the same subject again later.

Sitting Pretty On A Wall, 8x10 watercolor on Arches 140#

Learning Mode: Mr. Grumpy, redux

2007-03-11T17:10:00.000-05:00

Mr. Grumpy, watercolor on Canson 140#, 3.5 x 5.5

I did this quick rendering of Mr. Grumpy in watercolor several weeks ago, for practice. I think the boy needs more texture and more drama.

Learning Mode: Imagined Lizard

2007-02-25T21:50:00.000-06:00

Imagined Lizard, watercolor on Arches 140#, 9x12

I worked on this piece in my last two watercolor classes. The goal was to learn to build depth through layers of color, and to build a wet-in-wet background. It is loosely based on an iguana, but not intended to be realistic.

Dragon

2007-02-25T21:45:00.000-06:00

Dragon, underpainting (left), finished (right)

9x12 watercolor on Arches 140#

This is my first attempt to use what I learned in class on a piece of my own. On the left is stage one, the underpainting. On the right, the finished work. The scan is oversaturating the yellow. It's much more subtle on the original. The painting combines underpainting, wet-in-wet, and layering.

Sketchbook: Mr. Grumpy

2007-02-04T14:45:00.000-06:00

Mr. Grumpy, watercolor pencils in sketchbook, approximately 9"x12"

Class was cancelled this past week due to bad weather. My teacher suggested I use reference photos of reptiles in sketching my dragon critters. This grumpy little guy was inspired by a photo of an inquisitive little lizard perching on a flower bush. This isn't a realistic portrait, but I feel good about the facial expression and the round little belly. The icky weather also inspired my use watercolor pencils for color instead of my usual graphite. The water made the paper buckle, as you can see on the left side.

Learning Mode: Landscape Tone and Value

2007-02-04T14:32:00.000-06:00

Two Landscapes, 4"x5", Watercolor on Arches 140#

These two paintings are my homework assignment from my watercolor class. The goal was to paint a landscape using tone and value and only three colors. In this case, I used cobalt, viridian, and gamboge on the top/blue one, and cobalt, quin rose, and ultramarine on the bottom/purple one.

The paper makes a tremendous difference. I did a series of practice pieces on 90# Canson, but it felt as if the pigment was sliding off the paper. On the 140# Arches, the pigment gripped the paper better and stayed put.

Learning Mode: Trees and Small Figures

2007-01-21T20:51:00.000-06:00

A Walk In The Snow, 2.5"x3.5", watercolor on 90# Bienfang

Last week in watercolor class, my tutor taught me to paint wet-in-wet trees on the horizon, and small figures. This is a practice piece using those techniques.

More Sitting Pretty (ACEO)

2007-01-21T20:19:00.000-06:00

Sitting Pretty Purple, 2.5"x3.5", Watercolor on Canson 90#

Another mini-painting on the Sitting Pretty theme. Limited pallette, using quinacrodone rose, ultramarine blue, and viridian. Quin rose and ultramarine mix a beautiful purple that granulates. The eyes are hansa yellow. The gray is mixed from ultramarine and burnt umber.

Pears, For Practice

2007-01-21T16:55:00.000-06:00

Three Pears, 6"x9", watercolor on Arches 140#

I painted these three pears while I was working on my color studies last week. I'm fairly happy with the pears and the shape of the shadows. I'm not happy with the way the darker pigment deposited itself within the shadow. I would have liked for it to be smoother.

In Learning Mode...

2007-01-14T23:36:00.000-06:00

I'm taking watercolor lessons from a local artist. Since I'm the only student at the moment, I'm getting personalized attention. In our first session we covered color mixing and complementary colors on a standard split primary palette. Yesterday, I spent the day making paint swatches, looking up pigment properties, and mixing samples. Today, I selected the paints I'll use in my palette, then painted spheres using color complements for shading.

Sitty Pretty (ACEOs)

2007-01-07T19:02:00.000-06:00

Sitting Pretty Green & Sitting Pretty Orange

(2.5x3.5) Watercolor on 90# Canson

More small paintings. These are color studies for a larger painting. Both have Paynes gray underpainting. The underpainting on the orange dragon seemed terribly dark when I started, but I think it turned out okay.

Party Boys (ACEOs)

2006-12-30T23:48:00.000-06:00

Party Lizard (top) and
Party Dragon (bottom),
12/30/2006, 2.5" x 3.5" (ACEO), watercolor on 90# Canson

These two party boys are helping me with an experiment in shading. On top, I used multiple glazes of a single color (sap green) to simulate shadows. On the bottom, I used an underpainting of diox purple to create shadows under the sap green.

Notes for later: I think I prefer the richer darks the underpainting provides. Next time, I'll try using Payne's grey instead of diox purple. The yellow ballon is too bright, but a glaze of burnt sienna should tone it down. The wings are a little too low on the back, and need more structure.

Pear (ACEO)

2006-12-28T12:01:00.000-06:00

Pear 12/27/2006
2.5" x 3.5" (ACEO), watercolor on 90# Canson.

For Christmas, my sister sent me a box of pears from Harry & David. They were so beautiful, I needed to paint one.

Introduction

2006-12-28T11:03:00.000-06:00

By way of introduction, I am Allison Stein, an artist and author. Here's the bio that will appear with my next published short story:

Allison Stein is a Kansas City artist and author with a dark Southern streak. Her most recent credits include cover art for “Tick Hill” and “Diva” and a short story in “Flush Fiction”, all from Yard Dog Press. She also exhibits her art in science fiction and fantasy art shows across the United States. When she’s not painting, writing, hanging out in abandoned cemeteries, or scaring young children, she’s a marketing communications specialist in the software industry. She specializes in translating technobabble into Plain English.

This blog will showcase my art, including finished works and works in progress. Almost everything will be for sale. If you're interested in a particular piece, just email me with the details.

I'm still searching for myself and a path for my art. About 18 months ago, I transitioned from digital media to traditional media, and from the dark and macabre to lighter work. I ping-pong between fantasy subjects such as dragons and catgoyles (cats with wings) and mundane subjects (still lifes and housecats).

That said, I'm working toward my next big goal: To prepare a cohesive display of fantasy art for my next major show at the North American Science Fiction Convention (NASFIC) in August. I also need to create a stock of prints and small originals for sale at my table in the Artist's Alley. Wish me luck. Comments are encouraged along the way.