Winston Publishing

PORTFOLIO ~ P.49 TEXT BY AMY JOYNER W hether in word, music or visual form, some methods for creating art that are still common today have been used since the early ages of civilization. Some, but not all. Here's a look at some of the less known, less common and less under- stood art mediums visitors may see during Western Art Week in 2017. SCRATCHBOARD/CLAYBOARD: Mimi Grant, Out West Art Show, Best Western Plus Heritage Inn, Room 150 Mimi Grant knows many artists who argue about the correct terminology, Scratchboard or Clayboard? She says, "I use Scratchboard for the technique. Clayboard is a product that I use." There is a slide show and narrative on her website (don-mimigrant.com): The product I used is Clayboard by Ambersand. It is the best surface I have found. I start by drawing the image on tracing paper, then transfer it on to the Clayboard using white carbon paper. Then using a sewing needle and other assorted sharp tools, I start scratching the image into the Clayboard. When the image is finished with white on black, I use watercolor paint to add the color to the white lines. This is done in thin layers until I get the results I want. Then I go back in and re- scratch the highlights. This process is very time consuming, but it gives me the look that I want. Working Scratchboard/Clayboard since about 1975, Mimi has seen prod- ucts improve. She says, "Clayboard is Masonite board. The other stuff is like poster board. …I buy black, pre-inked. "I've done it so long and learned. You have to do a lot of preplanning. I draw on tracing paper, using separate pieces for each animal, then put them together." When the images are prop- erly positioned, Mimi uses white carbon paper to transfer the entire image to Clayboard and start scratching. "If you make a mistake in middle of the animals you can go aback and re-ink the board and re-scratch it; but only once," she adds. Then she applies the desired layers of paint. Because of the tactile 3-D variations of scratching, her work is not reproduced and sold as prints. PAINTING ON GLASS: Carol Hagan, The Russell, Russell Skull Society of Artists Suites, Mansfield Con- vention Center. Long known as a Contempo- rary Colorist, Carol Hagen has turned toward the light for inspiration in her relatively new technique of painting a mirrored image of horses on two pieces of glass that are fixed together for per- manence. "I started this experiment when I started dreaming of light – light in my work, light in my dreams," the Billings artist says. The dreams were strong and she knew it had to somehow be shown through her artwork. Now 3-1/2 years later, she is selling her popular Glass Horses Series, a col- lection of horses born through oil paints combined with cold wax and painted onto two pieces of 3/8-inch thick glass. Large Differences in Desired MEDIUMS "Wild Blue Yonder" - 38" x 32" x 3/4", Carol Hagan Oil and Cold Wax on double sheets of thick glass, with custom welded metal stands "Great Blue," - 14.5 x 10, Scatchboard, Mimi Grant,

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