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  This work is by Five Artists:  One Quote.
 1. Cheryl Adams
I still appreciate Reggie’s year-long course I got to take quite a while ago — the teaching & assignments were excellent, and I also learned from the other participants as well!

If I’m remembering correctly, I started designing this piece using pencil and then Mitchell nibs & Higgins Eternal ink on layout bond for the main text. To emphasize the Love that God desires, I used a Ruling Pen with Higgins Eternal on cold press paper to get the livelier lettering to create contrast & a focal point. Then I touched up, copied, and cut-&-pasted the design together. I transferred the design onto Nideggen paper using pencil and Saral transfer paper. Finally I painted in the design using Winsor & Newton gouache with good quality pointed brushes. This assignment taught me that even though the steps took quite a bit of time, in the end, all the preparation made it so you were ready to confidently do the final piece.  Thank you, Reggie!

2. Bob Meadows
This piece was alternately very challenging and very fulfilling, demanding a lot of patience. The materials used were handmade Japanese kozo paper, matte spray fixative, metal nibs, brushes, Saral transfer paper, ruling pen, gouaches. 10” x 14”

3. Roann Mathias
The piece was done on Arches hot press watercolor paper. I used masking fluid for all the lettering. The drawback with masking fluid is that it can’t make very clean or crisp edges. Also, it has to be peeled off! In the background is a graded wash with white spatters on the top.

I don’t know where I got the image of the gothic cathedral, but it was personally relevant to me because I have a degree in art history. To this day I still love all those cathedrals in Europe. I had seen the versions of this quote that Reggie’s previous students had done in the yearlong, so it wasn’t a new idea. My feelings at the timewere that no matter how grand and beautiful those cathedrals were, they probably weren’t built from love but for many other reasons. That’s why the one in my piece is so gray.

4. Marijo Carney
I did this piece in 1986, part of my first class with Reggie Ezell. I was so inspired by this Tagore quote that I did two versions, one in cool colors, and one in warm. This is my warm rendition.

I decided to use a heavy brown earthen colored Strathmore paper I had found in my paper collection for this project; but first I wrote out the beginning lines of the quote in Roman letters with Mitchell pen nib and black ink on scrap
paper to determine how the letters would fit inside a circle. I then used Pebeo masking fluid in my nib to write the letters in that same designed formation and wrote them in the upper right hand corner of the brown paper. I changed to a larger nib and used the same masking fluid to finish the quote in larger bouncing Roman letters placed at the lower left of my composition. After the masking fluid on the larger letters dried, I painted around them with a variety of earthen colors that suggested stones.

I then covered the entire piece with a heavy white paper mask leaving only a cut out circular shape around the smaller letters and used a toothbrush, gold gouache, and window screen to create a spatter effect. I removed my paper mask and added more random gouache spatter to link the lower left hand corner and my gold spattered circle.

After I was sure that all my spatter was dry, I removed the masking fluid on my letters with a rubber cement pick up block to reveal letters in the brown of the paper. I painted a few more "stones" here and there and called it finished.
16" X 20"

The spatter technique was something I had learned when I was in second grade. Not a sophisticated process, but I dredged it from my past to make it work here.

I did this so long ago it is hard to remember all the details, but what I do remember was how Reggie inspired me and gave me the encouragement and the confidence to use all my skills , no matter how elementary, to create a very personal response.

5. Toi Clawson
The watercolor and lettering for this Tagore quote were done in an unusual order. First the layout was drawn on thin paper, then a light box was used to be able to see the drawn letters through the hot press watercolor paper. The
Letters were painted in (using a 000 brush) to apply the Pebeo masking fluid so there were no drawn lines for any of the lettering. The next step was blocking out where the lilies and stones would go. For this I used 3M sticky notes and cut out paper (like silhouettes). Then using an airbrush, I used watercolor to create the layered blue background. After the background was done, I painted the lilies, foliage and small stones in a traditional watercolor method (using several sizes of watercolor brushes). The last step was to remove all the masking fluid to reveal the lettering. It was more work than a traditional watercolor, yet very rewarding when the masked lettering came out looking crisp and sharp!

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