Why I love Design

Design causes us to think, feel and respond. It presents us with new ideas,
perspectives and causes growth. It purposefully changes consciousness.
I love the challenge of integrating imagery and typography to a formative
aesthetic with the expressed purpose of communicating and intentionally
directing thought.

As visual creatures humans have created a unique practice using type
and image with design. Informed design is a powerful visual methodology
synthesizing communication, psychology and visual perception. Design
has the power to clarify or obstruct information. Letter forms as basic
abstract marks, function as semiotic signs while simultaneously transmitting
visual information.

How wonderful that black and white letters on this page create both
visual form and communicate meaning! Marks becomes words. Words
with agreed upon meaning combine and carry messages. Type and image
unify to heighten communication, whether the message is intentional
or not.

The meaning someone ascribes to what is designed creates and directs
their thoughts. This is important because thoughts govern actions. The
actions of one, influence the actions of many. Actions reflect personal,
cultural, social and political values and beliefs. On an individual level, a
series of actions, moment by moment and day to day, make up a life.
The lifetime of many create a generation for a specific time and place.
Many generations form the history of humanity, and are shaped
by design.

Creating work that sells

My painting subject is usually abstract landscapes. This past summer I worked in traditional water color media and created a "sale-able" piece for an auction to help the homeless.

I purposefully drew it realistically and painted in every detail, true to form. I enjoyed doing it and it turned out well. I went down to the local big box art supply store and picked out a frame suitable for the kind of work it was.

It gave me pleasure to stretch the 300lb Arches water color paper. I sanded down my old drawing board to fresh wood, laid the crisp rough paper in the bath tub for 60 seconds and then stapled it to the board to dry. When the paper was dry I drew every detail of a large bouquet of just picked, vibrant Lilies given to me from my friends garden. I painstakingly observed the colors of the flowers and built up the color intensities, layer by layer.

The composition was carefully considered as I placed a butterfly at the upper corner of the first rule of thirds intersection. I enjoyed adding salt to the loose background to create an interesting texture.

All in all it was a good exercise, and when I painted it, I try to capture the life or spirit of the subject. I stopped short of over working it and many people thought it was a very successful piece.

But, I don't quite feel that way about it. It was not spontaneously created or allowed to develop freely. Although it might not look like it, it was planned to the hilt and this planning I feel took some of the "spirit" out of it. This is a very different method from how I normally work. A friend said I should paint another one to sell, and another, and another... I could, but money isn't enough of a reason for me and I have been resistance to do it just for the money. I suppose if I was starving, my attitude might change in a heart beat. I felt somewhat disindigenous doing this...not sure why. I am talented enough to mimic any style or genre, and when I paint for myself, I find other artist to be appreciative. But when I do something like this, I find other artists bored and layman appreciative. What to do, what to do? Earn a live and cater to the masses or please myself? Maybe the trick is to do both.

I have published a book with 96 of my ink brush paintings. Please take a look. It was a challenge to self publish on Blurb, but well worth the effort.

Ink Brush Paintings of Rebecca Moran