Perspective is the way we seeing things from our point of view. This video discusses in detail how perspective, specifically ‘Linear Perspective’, influence our Bonsai Drawing and our Bonsai development. We begin with a fundamental understanding of one-point and two-point perspective. I show how of a horizon line and vanishing points originate from our point of view and how objects occupy our ‘Field of View’; i.e why objects look larger the closer they are to you.
Applying perspective to our drawing gives the artist the technique for showing objects in space; I illustrate this using a Bonsai Pot. When drawing a Bonsai Tree showing the pot accurately in space can give the drawing a sense of reality. The video also discusses in detail ‘Foreshortening’ and how that influences Bonsai Artist to develop Bonsai Trees with large bases and exaggerated taper. In addition, the concept of perspective also plays a role on how l we layout our Forest Plantings called ‘Saikei’. The video finishes with a short demo on how I trim my forest plantings and how perspective influences my decision making.
Though perspective is conceptually “easy” to understand, practically it can be very difficult to apply. My goal in this video is to remove some of that complication and provide a simple way of applying it to our drawing and bonsai development.
In 2011 I started on a journey that continues to this day. Below is an account of the start of this journey into a life time at the Shipley Nature Center in Huntington Beach
If you are interested in purchasing one of the pleinairs please contact me at reekersart@gmail.com and I let you know availability. Purchase price is $300 with free shipping.
Pleinair setup at Spot 13, sometime in 2011
The conceived of this series as a way to understand how nature changes with time here in Southern California, and how my learning of the scene changes with it. The goal is to have completed a series of 12 paintings that illustrate how art can be used as a learning tool and accomplish great esthetics when one understands and feels a vista. The agenda will be to go out the the Shipley Nature Center in Huntington Beach California and paint a plienaire painting (on-location) every month. It is important to paint from the same spot every time; Spot 13 as disignated by a marker at the Center. My intent is to finish this location completely with studio work to be performed in 2012.
This is a photo of the scene taken in July 2011, it gives you a general idea of the Spot 13. I choose the spot because I wanted a location that was foliage rich and not your ‘traditional’ landscape vista. In this way, I would have to respond to the changing of the natural foliage throughout the year.
January 2011 – Pleinair 9″ X 11″ oil
This was the first painting at Shipley. It was an introduction to the scene and place. What I like about this painting is the light moving through the scene and the brushstroke are looser than my past pleinair paintings.
Feburary 2011 – Pleinair 9″ X 11″ oil
Trees are beginning to fill out though relatively spares. Some flower’s are beginning to bloom which was exciting and began to saturate my pallet. I like how things are beginning to warm up and those violet flowers.
March 2011 – Pleinair 9″ X 11″ oil
A very strange day, the clouds were heavy and there was a constant change in light. The foreground continues to be expressly derived and the middle ground is looking more distinct and integrated.
April 2011 – Pleinair 9″ X 11″ oil
This was a very melancholy day and rather dark. It seems the changing of the season is creating a level of anticipation in the plants. I learned a lot on this trip, more what not to do than what to do though. Having been more familiar with the scene I thought that I could blocked in the scene quickly and then free-form on details. I ended up trying not to muddy up the painting from the under paint. In any case I like the energetic mark making.
May 2011 – Pleinair 9″ X 11″ oil
An absolute beautiful day; the best so far. The flowers buds look happy and ready to bloom, the foliage is filling out and finally the background trees are full and robust. The previous month taught me much about approaching the scene in a holistic manner. I was not worried about blocking in and allowed the under stain to peak through.
June 2011 – Pleinair 9″ X 11″ oil
The scene is in full bloom! I was shocked by the growth. The Shipley Nature Center is a tendered preserve and I’m was very happy that nobody has removed any foliage. I’m starting to ‘get’ the background. My approach is becoming more abstract such that the approach is more in tune with values, forms and inter-relationships of color; definitely less than what the object “actual” is. Even though my approach is more abstract I would still like to capture a bit more detail in the foreground.
July 2011 – Pleinair 9″ X 11″ oil
A hot and humid day which seems a little early for Huntington Beach, but the plants seem to like it. The scene is fully overgrown, almost to a fault. I would not have picked this spot if I seen what it looks like today. When I first saw the overgrowth, I thought, ‘How am I going to paint this’? In any case it turned out to be one of the most rewarding painting to date. I like to mark making that the scene demanded and rich variety of colors, inter-related shapes an dark deep values. I also like the depth of field.
August 2011 – Pleinair 9″ X 11″ oil
This was a very gloomy day, with a heavy layer of fog. I painted from 9:00am to 12:00pm and by the time I was done the overcast had burned off. This presupposes the problem of huge light an color shifts while painting. Monet used to carry more than one canvas at a time to avoid this problem and at the same time capture the mood, but alas I had only one canvas. In any case, I like the distribution color and the force of nature that comes through.
September 2011 – Pleinair 9″ X 11″ oil
This was actually a very pleasant date. Though the sun was out it was nice and cool. (a few days later it was very hot). The foliage is overgrown and the middle ground is nearly covered. This forced me to focus a bit more on the foreground objects. The big change continued to be the abstract way I’m approaching the application of paint; it is put on thick and direct. I’m also enjoying the mark making and freedom of the brush stroke. The background interplay between the sky and the trees was a challenge; I now understand the struggle Cezzane continued to work with throughout is life
October 2011 – Pleinair 9″ X 11″ oil
This was an extremely hot day and difficult to paint in. I also forgot some items I like to work with, such as latex gloves and a trash bag, so my attitude was a little bent. In any case, the foliage again has grown, but added the challenge of painting objects very close to me as well as the background tree at a distance. The plants have turned a shade of white and there was little ground to be seen. The warmth of the ground helps to balance the coolness of the foliage, so the white had to be used as a warming element. The trees in the background are starting to change color (never changes much in southern California) and are losing their leaves, this allow a lot of light to poke through them causing a provision of lite shadows; beautiful
November 2011 – Pleinair 9″ X 11″ oil
The landscape is coming around full circle now. When I think of my first painting from Spot 13, I remember the redness of the background trees and that is what I’m beginning to see today. The overgrowth is astonishing which is due to the Director letting it grow, (she was aware of my studies here and didn’t let anyone tend it) In any case, I wanted to keep the free brushwork but put a little effort into capturing the foreground details, and I believe I accomplished that goal fairly well. The painting has some interesting colors and the light of the day comes through. It seems a bit unbalanced though, this is due in large part to the concentrated areas versus the abstract areas. This will become very important when I start the studio painting.
I didn’t paint at the Shipley in December, but instead began to layout my large studio painting which I continue in a subsequent blog “Shipley Nature Center Saga – 2012”.
Thank You for reading this feel free to contact me if you have any questions or would like to purchase any of these paintings.
In the first three parts of my Ota Azalea Woodblock Series, I moved from selecting and designing the bonsai image, to carving the woodblock, and then to creating expressive monoprint backgrounds with a Gelli plate.
In Part 4, those different processes finally come together.
I print the carved Ota Azalea woodblock over the backgrounds created in Part 3, then continue working each print individually with acrylic paint. From there, I mount the finished pieces onto panels and prepare them for framing.
This is one of my favorite stages because the process moves beyond simply reproducing the carved block. Each print begins to develop its own personality.
Preparing the ink and rolling an even layer of black etching ink onto the carved Ota Azalea woodblock before printing over the monoprint backgrounds.
Preparing the Ink
Before printing, I prepare the ink.
For this project I’m using a black oil-based etching ink from Graphic Chemical and Ink Company. There are inks made specifically for relief and woodblock printing, but because I already work with etching inks in my studio, I’ve found this works well for my process.
Ink consistency is important.
I work the ink before putting it onto the brayer, loosening it with a little plate oil when necessary or stiffening it with magnesium carbonate. There isn’t one perfect consistency. Much of it comes down to experience and finding the feel that works for you.
Once the ink has the consistency I want, I distribute it evenly across a large brayer and then roll it onto the carved woodblock.
Like many aspects of printmaking, knowing when the ink is right takes practice. That experience—the feel of the ink, the sound of the brayer and the appearance of the surface—is part of learning the process.
The carved Ota Azalea woodblock printed over the colorful monoprint background. The strong black lines establish the structure of the bonsai while allowing the color, texture, and marks beneath to remain part of the finished image.
Bringing the Woodblock and Background Together
The exciting moment comes when the carved Ota Azalea is printed over the monoprint background.
The backgrounds already contain color, stencil patterns and marks developed in Part 3. The black woodblock impression adds another visual structure over them.
But I don’t consider the print finished at this point.
Instead, the woodblock becomes another layer that I can respond to.
This is where the process begins moving away from a traditional edition of identical prints and toward individual monoprints. Each background is different, and therefore each finished Ota Azalea develops differently.
Reworking the woodblock print with acrylic paint, adding color and definition to the foliage while allowing the black carved lines and monoprint background to remain visible. Each painted passage helps transform the original impression into a unique mixed-media monoprint.
Reworking the Print with Acrylic
After printing the woodblock, I return to the image with acrylic paint.
I begin by developing the foliage, continuing the warm-to-cool color relationships established when I created the backgrounds. I can warm the greens or move them toward cooler greens and blues depending upon what the individual print needs.
I then work back into the trunk and branches.
This is a patient process. Small brushstrokes gradually articulate the foliage and tree structure while allowing portions of the original woodblock impression to remain visible.
Rather than covering the print, I’m responding to it.
That distinction is important to me.
The carved line, printed ink, Gelli background, stencil marks and painted passages all remain part of the history of making the artwork.
Working between oil-based printing ink and acrylic paint, I use clear gesso to help bridge the two materials. This allows me to return to the printed image with acrylic, refining areas and incorporating the natural variations of the printing process into the finished monoprint.
Working Between Oil-Based Ink and Acrylic
There is a technical consideration when combining these materials.
My woodblock is printed with oil-based ink while much of the additional painting is done with water-based acrylic.
Before printing the woodblock, I apply clear gesso over the acrylic monoprint background. This prepares the surface for the oil-based printing ink. Once the print has been made, I can return to the surface with acrylic paint.
This also gives me an opportunity to address areas where the woodblock impression didn’t transfer completely.
I don’t necessarily see those imperfections as failures.
These are monoprints, and I expect each one to be different. If an edge doesn’t transfer completely or an area needs additional definition, I can return to it with paint and incorporate that variation into the finished piece.
In one of the backgrounds from Part 3, for example, there was a slight pull during the Gelli transfer. Rather than discard the print, I simply returned to the pattern and reconstructed the missing area.
The correction becomes another small part of the making process.
Mounting the finished Ota Azalea monoprint onto a prepared panel, carefully rolling the surface to create an even bond. Mounting transforms the paper print into a finished art object and prepares it for presentation in a floating frame.
Mounting the Finished Monoprints
Once I’m satisfied with the images, I cut the individual prints and mount them onto prepared panels.
I use a process similar to the one I demonstrated in Part 11 of my Goyomatsu series. Acrylic medium is applied to both the prepared panel and the back of the artwork. The print is positioned carefully, covered with parchment paper, placed under pressure and allowed to dry overnight.
The panels themselves are prepared before mounting. I sand the surface and apply two substantial coats of gesso to create a barrier between the panel and the artwork.
And, as you’ll see in the video, sometimes studio practice includes realizing halfway through that you’ve forgotten something.
In my case, I forgot the parchment paper on one of the pieces.
I caught it, corrected it and continued.
That’s part of making art too.
From print to finished artwork—the completed Ota Azalea monoprint is mounted on a prepared panel and placed in a floating frame. The presentation reveals the finished piece as an object while preserving the layers of woodblock printing, monoprint, and hand-painted detail.
From Print to Finished Artwork
After drying overnight, the mounted monoprints are flat and secure.
I paint the edges black and place the finished pieces into floating frames. The float frame allows the artwork to remain visually separate from the frame and emphasizes the object-like quality of the mounted print.
At this point, something that began as a photograph of a bonsai, became a drawing and design, was transferred to a woodblock, carved, combined with a monoprinted background, printed, painted, mounted and finally framed.
Each stage leaves something behind.
And that is really what interests me about this process.
Where bonsai and artmaking meet—drawing directly from bonsai gives me the opportunity to study the tree’s structure, movement, and character. These observations become the starting point for exploring bonsai through drawing, painting, and printmaking.
Follow the Work as It Develops
If you’ve followed the Ota Azalea from the beginning of this series, thank you. I hope seeing the work develop over several stages gives you a better understanding of what goes into each finished piece.
For me, sharing the process is part of sharing the artwork itself. A finished piece contains decisions, changes, experiments and sometimes mistakes that aren’t necessarily visible when you encounter it on the wall.
If you’re interested in bonsai, printmaking, mixed media, or simply seeing how an artwork develops in the studio, I invite you to continue following my work.
You can watch Ota Azalea Part 4 on my YouTube channel, explore more of my bonsai-inspired artwork here on my website, or subscribe to receive occasional updates about new work, exhibitions, videos and studio projects.
And if something in this process—or in one of the finished pieces—connects with you, I’d enjoy hearing from you. One of the things I value about sharing my studio practice is the conversation that can develop around the work.
Part 4: Printing, painting, mounting and framing the finished monoprints
The process may be complete for these prints, but the exploration of bonsai as a subject for drawing, painting and printmaking continues.
Stay Connected
Thank you for following along with the Ota Azalea Woodblock Series. Sharing how these pieces develop—from the original bonsai inspiration through drawing, carving, printing, painting, and framing—is an important part of my studio practice.
If you’d like to see what I’m working on next, follow along, ask questions, or simply stay connected, you can find me here:
I always enjoy hearing from people who connect with the artwork or the process, so please feel free to leave a comment or reach out. And if you’d like to support the continued development of my artwork and videos, you can join me on Patreon, where I share early announcements and additional studio updates.
I particularly like “people who connect with the artwork or the process” here. It speaks equally to fellow artists, bonsai enthusiasts, and potential collectors—which is exactly the audience this series is beginning to bring together.
Not simply observing a place, but allowing it to settle into psyche long enough that it begins to motivate. What remains isn’t just a mind’s image, but its experience.
This journey began during a late afternoon painting session overlooking Crystal Cove near Laguna Beach. The sun was disappearing allowing the sky to slowly shift from warm evening light into the cool darkness of dusk. What held my attention wasn’t simply the landscape itself, but the dramatic conversation between light and shadow, warmth and coolness, and the quiet transition from one moment of painting during the day into another ambiance once finished with the plein-air.
I completed a plein-air painting on location, but I knew it was just the beginning of the aesthetic journey.
Back in the studio I created a pastel based on both the original painting and photograph I had taken. The pastel wasn’t intended to copy the plein-air study. Instead, it allowed memory to become part of the drawing. Pastel encouraged richer color, stronger contrasts, and a heightened sense of atmosphere. It became less about recording what I had seen and more about expressing what I had experienced at the location, but also as I was drawing the pastel motif.
That process of reinterpretation isn’t new to me.
Years ago, while developing my Shipley Series, I realized that returning to the same subject repeatedly revealed something unexpected. Every version solved different visual problems while opening new possibilities. My years as an aerospace engineer also influenced this way of thinking. Engineering often required breaking complex systems apart before rebuilding them into something stronger. Today I find myself approaching painting in much the same way.
The landscape becomes an idea to explore rather than a scene to duplicate.
At this point I combined the photograph, the plein-air painting, and the pastel digitally—not to let the computer create the artwork, but to test visual relationships. Much like making compositional sketches or value studies, this digital stage allowed me to discover new directions before returning to the handmade mark-making process.
The resulting image became a starting point, not the destination.
From there I transferred the image onto archival Arches watercolor paper using my gelli printing process. Layers of monoprinting, acrylic, pastel, and stencil mark-making gradually transformed the surface. Each layer concealed something while revealing something else. Rather than covering previous decisions, every stage remained visible, allowing the painting to record its own history. (You can see this process in the YouTube channel https://www.youtube.com/@rreekers.)
The final mixed media painting is not a copy of the photograph or even the original plein-air study.
It is another step in the conversation.
What excites me most about this process is that every medium asks different questions. Oil painting, pastel, printmaking, mixed media—even digital exploration—each reveals possibilities the others cannot. The subject remains familiar, yet every interpretation teaches me something new about painting, perception, and expression.
That’s why I think of my work as ideas expressed through different mediums. The medium changes, but the exploration continues.
See the
And perhaps that’s the greatest lesson I’ve learned. An artwork is rarely an ending. It’s simply the point where one idea has become clear enough to suggest the next one. Crystal Cove may yet become another oil painting, a woodblock print, or an etching. I honestly don’t know.
That’s part of the joy.
I’d love to hear how others experience this creative process. Have you ever returned to the same subject only to discover something entirely new? Or, if you’re curious about any part of my process—from plein-air painting to digital exploration to mixed media—please leave a comment or send me a message. Some of my favorite conversations have begun with a simple question.
You can also explore my thoughts regarding the relationship between Fine Art, Aerospace Engineering, and lifelong creative practice through my LinkedIn profile.
For additional studio insights, behind-the-scenes artwork development, and ongoing creative projects, visit my Patreon page.
Ota Azalea Part 3 – Gelli Plate Monoprint Backgrounds
When most people think of a woodblock print, they naturally focus on the carved image. But before the first impression of the bonsai is ever printed, another important decision shapes the final artwork—the background.
For the Ota Azalea YouTube series, I wanted backgrounds that were alive with movement and color rather than the woodblock itself. The bonsai already possesses remarkable rhythm through its branching structure and flowing silhouette. The background needed to support that energy without competing with it. Rather than painting directly onto paper, I chose to work with a **gelli plate** to create a collection of one-of-a-kind monoprint backgrounds.
Why a Gelli Plate?
A gelli plate is a wonderfully direct printmaking surface. Pastel drawing and Acrylic paint are rolled onto the plate and manipulated with stencils, texture tools, or simple mark making before the image is transferred to paper. Unlike traditional relief printing, every pull from the plate is unique.
This unpredictability is exactly what makes the process exciting. Unexpected textures, soft transitions, and subtle color changes often appear that could never be planned completely in advance. Instead of fighting those surprises, I try to recognize opportunities when they occur. The result is a background that already contains its own visual life before the woodblock image is added.
Building Layers
One of the strengths of gelli printing is layering. Each new layer can partially reveal what came before while adding fresh color, texture, and depth. Some layers become almost invisible, yet they still influence the overall harmony of the finished print.
During this process I experimented with:
* Controlled color harmonies inspired by “A Dictionary of Color Combinations”
* Transfer of Pastel to Gelli Plate
* Stencils that introduced both organic and geometric shapes
Rather than trying to duplicate one successful print, I allowed each background to develop its own personality. Some became quiet and atmospheric. Others became energetic and bold. Those differences will later influence which woodblock impressions work best on each sheet.
## Planning for the Final Print
At this stage, I am not trying to finish the artwork. Instead, I am creating possibilities. Each background becomes a candidate for the final woodblock print. Once the carved azalea is printed over these surfaces, completely new relationships begin to appear between the image and the underlying color. Sometimes a background that seems too busy on its own becomes perfect once the woodblock organizes the composition. Other times, a subtle background allows the bonsai to become the clear focal point. This dialogue between background and foreground is one of the aspects I enjoy most about combining monoprint and relief printmaking.
## Why I Enjoy This Process
As both a painter and printmaker, I enjoy working where planning and discovery meet. The woodblock provides structure, craftsmanship, and deliberate design. The gelli plate introduces spontaneity, texture, and surprise. Together they create images that neither process could produce alone. It reminds me that printmaking is not simply about reproducing an image—it is about exploring possibilities. Every pull of the press becomes another opportunity to discover something unexpected.
## Watch the Process
In Part 3 of the Ota Azalea series, I demonstrate how I create these monoprint backgrounds using a gelli plate, pastel drawing and acrylic layered textures. You’ll see how experimentation becomes an essential part of the creative process and how these backgrounds prepare the way for the finished woodblock prints.
In Part 4, the real transformation begins as the carved Ota Azalea woodblock is printed over these expressive backgrounds, revealing how relief printing and monoprint come together to create the finished artwork.
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**Have you experimented with gelli printing or combined different printmaking techniques? I’d enjoy hearing about your own experiences or answering any questions in the comments below.**
Other blogs in the The Ota Azalea Woodblock Series:
The second chapter of my Ota Azalea video series has now been released, and this is where the process really comes to life: carving the woodblock itself. In this companion article, I want to take you deeper into the methods, tools, and artistic decisions shown in “How to Carve a Bonsai Woodblock | Ota Azalea Part 2.”
If you’ve been following along, you already know this series is about more than bonsai—it’s about translating a living form into a work of art through printmaking.
In Part 1, I focused on developing the drawing—working through composition, refining the trunk and branch movement, and carefully considering negative space.
In Part 2, that freedom begins to narrow.
Once I start carving, the image is no longer fluid—it becomes fixed in wood.
Every cut matters. Every decision is permanent.
That’s one of the things I love most about woodblock printing. It demands focus, patience, and trust in the process.
My Approach to Carving the Woodblock
I use traditional relief carving techniques, working directly into the wood grain to define the image. The goal is not just to copy the drawing, but to interpret it—allowing the carving itself to bring energy into the piece.
As I carve, I focus on several key elements:
Trunk movement to express age and character
Branch taper to maintain elegance and proportion
Foliage masses to create rhythm and balance
Negative space to open up the composition
Surface texture to give life to the printed image
There’s also an important shift that happens here. I’m no longer just drawing a bonsai—I’m sculpting light and shadow that will later be revealed through the printmaking process.
Why I Translate Bonsai into Woodblock Prints
Bonsai has always felt like sculpture to me—living, evolving, shaped over time. Through woodblock printmaking, I’m able to reinterpret that form in a completely different medium.
The Ota Azalea was chosen for its graceful movement and strong silhouette. It has a natural rhythm that translates beautifully into line and shape.
During carving, I simplify the image—reducing it to its essential structure. What remains is movement, balance, and a sense of presence.
Creating the Artist Proof
At the end of this stage, I create an artist proof. This is a critical part of the process.
The proof allows me to see the image as a print for the first time—how the lines read, how the composition holds together, and where adjustments are needed.
Often, I’ll go back and carve more after seeing the proof. Areas may need to be opened up, strengthened, or refined.
This back-and-forth between carving and printing is where the piece really develops.
What’s Coming Next
In the next part of the series, I’ll begin exploring more experimental territory—creating unique printed backgrounds that will eventually interact with the carved image.
This is where the work starts to move beyond traditional printmaking and into mixed media.
There is always a moment before creating a woodblock print when the image is still only an idea.
Part 1 of this new woodblock series begins not with tools — but with looking, selecting, and drawing. Before a single cut is made into the Shina plywood, I spend time finding the right bonsai image, studying its structure, and translating it into line.
This first step determines everything that follows.
The subject for this series is the Ota Azalea, a Satsuki azalea with elegant movement and delicate flowering structure.
Azaleas are different from pines or junipers. Their branching is lighter. Their energy is softer. The flowers carry visual weight that must be balanced by trunk movement and negative space.
When choosing the reference image, I look for:
Clear trunk movement
Strong root flare (nebari)
Layered branch structure
Negative space that will translate well into relief carving
A woodblock print depends on design clarity. Every line must matter.
Before drawing on the block, I create a preliminary sketch.
This is where interpretation begins.
In the sketch phase, I:
Simplify complex branching
Emphasize rhythm and movement
Reduce visual noise
Strengthen silhouette
Unlike painting, woodblock printing demands commitment. Once carved, there is no going back. The drawing must already understand what will be removed and what will remain.
This is where engineering discipline meets artistic intuition — something that has informed much of my studio practice over the years.
Transferring the Image to the Woodblock
Once satisfied with the preliminary drawing, I transfer the design directly onto the Shina plywood.
I begin in graphite to establish placement and proportion. Then I reinforce the final lines using a Sharpie marker. This darkens the areas that will remain raised and helps clarify what will be carved away in Part 2.
At this stage, the image feels complete — but it is only potential.
The drawing on the block is both fragile and powerful. It holds the entire future of the print within it.
Why This Stage Matters
Many people think carving is the most important part of relief printing.
It isn’t.
The design stage is everything.
A strong woodblock print begins with:
Clear line hierarchy
Thoughtful negative space
Balanced composition
Understanding how ink will sit on the surface
This careful beginning reflects how I approach bonsai as well — shaping, removing, refining, always thinking ahead to what the tree (or image) will become.
What Comes Next
In Part 2, I begin carving the Ota Azalea block — establishing line weight, depth, and the relief structure that will ultimately transfer the ink to the paper.
The transformation from drawing to carved surface is where the real commitment begins.
If you’re interested in the full process, you can watch Part 1 on my YouTube channel and follow along as the image evolves from idea to print.
Continuing the Exploration
Much of my woodblock discipline grew out of earlier drawing studies. If you’re interested in how I approach structure before surface, you may enjoy reading Drawing the Basic Conceptual Layout of exciting Bonsai Artwork, where I explore how careful drawing establishes the foundation for layered work.
If you would like to explore available artwork, prints, and current series, you can visit my main site atReekersArt.com
And for those who would like to support my studio practice more directly, I share deeper process insights and behind-the-scenes work with members on https://www.patreon.com/c/ronreekers
At 68, I find myself appreciating beginnings more than ever.
The act of drawing onto the woodblock feels quiet, deliberate, and deeply connected to years of discipline — in engineering, in bonsai, and in painting.
Before the destruction of carving… There is the stillness of drawing.
And that stillness matters.
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Stay tuned for Part 2: Carving the Ota Azalea Woodblock.
With this post, I conclude my Goyomatsu White Pine mixed media series—a journey that began with a simple concept and evolved into a deeply layered artwork integrating pastel, monoprinting, kanji, and now, final mounting and presentation.
In Part 11, I take you through the final, critical steps that prepare the artwork for display:
I begin by revisiting the wood panel I constructed in a previous tutorial. (If you missed it, you can watch it here).
Using Liquitex Gloss Medium and a cheap bristle brush, I apply adhesive to both the panel and the back of the artwork.
I carefully center the artwork on the panel and use a brayer to secure it, eliminating bubbles and making sure the corners are properly glued.
After placing acetate and a masonite board on top, I let it sit under weight for a full day.
Once dry, I remove the cover and trim the edges with a carpet blade for a clean, professional finish.
The final touch is framing. I built a floating frame based on Michael Alm’s YouTube tutorial, then dry-fitted, shimmed, and secured the panel with wood screws. I sign the back of the artwork—preserving the image itself—and add a hanging wire to complete the piece. In some cases, I add a backing paper as well.
This step not only protects and stabilizes the work but gives it a polished presence—ready for the wall or gallery.
Reflecting on the Series
This 11-part series has been an exploration of concept, craft, and process. From the initial composition to drawing, pastel, printing, layering, painting, and now final mounting, each step was intentional and deeply connected to the soul of the subject—the Goyomatsu (White Pine) bonsai.
My hope is that this series offered both insight and inspiration, whether you’re a practicing artist, bonsai enthusiast, or curious observer. Creating something from the ground up—from sketch to frame—is both humbling and energizing.
Thank You
Thank you for walking through this entire creative process with me. If you’ve been following the series, I’d love to hear your thoughts. Has it inspired your own creative journey? What parts resonated with you most?
Every artwork reaches a moment where the artist must take a step back. In Part 10 of my Goyomatsu Mixed Media Bonsai Series, I invited a group of trusted artist friends into the studio to share their honest thoughts on the piece. These critique sessions have become an essential part of my process. There’s something invaluable about receiving input from others who can see what I might be too close to recognize—a “third eye” that brings clarity and insight.
Over time, it’s easy to lose perspective. We become so absorbed in our own work that we can miss imbalances or underdeveloped areas. That’s where the critique circle becomes powerful. It’s not just about receiving advice; it’s about engaging in a collaborative exchange with artists who bring their own years of experience and thoughtful observation to the table.
During this critique, we discussed several aspects of the work:
Color & Pattern Harmony: The group agreed that the color palette was vibrant and well-chosen. They also noted how the stenciled patterns enhanced the background, helping the motif feel unified—so the piece wasn’t just about the tree, but about the space it lives in.
Gradient & Light: There was appreciation for the vertical gradation from top to center, which strengthens the composition by helping the tree stand out.
Suggestions for Refinement: It was recommended that I emphasize the trunk and branching structure more clearly and deepen the negative space between the tree’s forms to improve contrast. The light in the background was praised, and it was suggested that subtle adjustments could make it even more effective in highlighting the tree.
From this input, I chose the suggestions that resonated with me—because critique is not about following every suggestion, but about listening for what rings true. I then re-engaged with the painting, setting up my palette, remixing key colors, and working on selected areas including the branches, negative space, and background lighting.
This session helped me bring the painting to a finished state—not by changing its direction, but by enhancing its clarity and cohesion. It was a reminder that honest, thoughtful critique—when done in a safe and supportive space—is one of the most generous gifts artists can offer each other.
The video concludes with a brief preview of Part 11, the final part of this series, where I’ll share how I mount the completed work for display.
I invite you to watch the video and join me in this step of the journey. And if you’re an artist yourself, I encourage you to open your work up to critique. Not every comment will apply—but the conversation is what sharpens your eye and strengthens your voice.
In this chapter of my How to Create a Bonsai Artwork in Mixed Media series, we move deeper into refinement. Part 9 is where I begin to paint the bonsai tree itself using acrylics—focusing on shadow, light, and the overall character of the Goyomatsu (White Pine).
🎨 From Kanji to Color: A Quick Recap
Since Part 8, I’ve worked on enhancing the background and negative space, using stencils and acrylics to lighten and darken select areas. I also stenciled over the Kanji—a key decision to better integrate the calligraphy into the composition and give it a more unified visual rhythm.
Now, my attention shifts to the tree.
🎨 Managing the Palette: Color as Structure
Before applying any paint, I walk through how I mix my palette—starting with my custom black, a blend of Alizarin Crimson and Phthalo Green. By adjusting the proportions, I can warm or cool the tone, and even neutralize it with a touch of Mars or Ivory Black.
To mix greens, I use this black as a base, then shift it with Lemon Yellow, Cadmium Red or Orange (to warm it), or Ultramarine Blue (to cool it). For lighter values, I add Titanium White. These nuanced mixtures allow for a range of naturalistic foliage tones that bring the tree to life.
🌲 Painting the Bonsai: Foliage, Pot, and Trunk
With the palette set, I begin painting:
Shadowed foliage and branching for depth
A rich, warm brown for the bonsai pot
Final yellow-green highlights to lift the upper foliage and give it energy
Each layer builds on the last, enhancing the overall composition without losing the sketch-like immediacy that pastel brought in the previous stage.
🖼️ Reflection and Critique
I finish this part by stepping back. I place the painting on an easel, take time to reflect, and—most importantly—I plan to bring it to my monthly artist critique group. These sessions are essential to my practice. They allow fresh eyes to offer new perspectives and help me refine the final stages of a piece.
In Part 10, I’ll share how the critique shaped the final touches and brought the work to completion.
⏱️ Video Timeline:
00:00 – Introduction 00:26 – Review of work since Part 8 01:58 – Planned work on tree 02:09 – Palette building and color mixing 04:40 – Painting tree shadows and foliage 07:53 – Highlighting the bonsai pot 09:10 – Final foliage highlights 11:26 – What’s coming in Part 10 12:48 – Support and social links
🙏 Support & Stay Connected
Thanks again for following along with this series. I continue to learn—through painting, through critique, and through your feedback. If you’d like to support or follow the journey:
In Part 8 of my How to Create a Bonsai Artwork in Mixed Media series, we move from destruction to reconstruction. After intentionally breaking down the image in Part 7—a moment I call “Loss”—this chapter begins the delicate act of Gaining it back.
The tree, a Goyomatsu (White Pine), begins to reemerge through the tactile medium of pastel. But first, I sketch a structural guide with Conte Crayon, which helps lay the foundation for proportion and gesture. From there, I use dark pastel tones to define shadows and shape the negative space, slowly breathing life back into the bonsai form.
This is not just about technique—it’s about creative intuition. I intentionally step back and review how far the image has evolved from its origins: a reference photo and an earlier pastel study. That gap, that transformation, is where true creativity lives.
From roots (nebari) to canopy, and even the moss at the base, I explore how warm and cool tones play off each other, subtly anchoring the tree into its imagined world.
This part also came with technical hiccups: sound issues, focus problems, and my head blocking the shot more than once. I offer a sincere apology—but also an honest acknowledgment that I’m still learning to be a better videographer and editor.
Despite these imperfections, the spirit of the work remains strong. I continue to mark the background stencil and draw out the branching, preparing the piece for the next phase. Part 9 will involve fixing the pastel and dialing in the motif with acrylic paint.
🔍 Highlights & Takeaways:
Rediscovering the bonsai form through pastel drawing
Importance of contour and negative space in composition
Warm vs. cool color interactions in foliage and moss
Creative distance from source as a tool for intuition
Honest reflection on the challenges of video-making
As always, thank you for being part of this journey. Each part of this series is more than a tutorial—it’s a window into a living, evolving creative process. I hope it inspires your own.
In Part 7 of my ongoing video series on creating a bonsai mixed media artwork, I explore the theme of Loss and Gain through an expressive and intuitive painting process. This stage marks a dramatic and exciting shift in the evolution of the piece, as I embrace letting go of earlier work in order to create something even more dynamic and layered.
Building from the Background
After reviewing the progress made in Part 6—where I created a vibrant background with complementary colors and stencils—I move forward with the monoprint technique. Traditionally, monoprinting involves inking a surface and placing paper on it to create a transferred image. Here, I adapt the method by applying acrylic paint to a cut plastic bag surface, pressing it onto the artwork, and drawing from the back.
The result? Organic, uncontrolled marks that partially obscure the original bonsai image. In doing so, I allow the “loss” of earlier details to set the stage for new energy and expression to “gain” life in the painting.
Inspiration and Application
My approach to this monoprint technique was partly inspired by YouTube artist Dan Tirels (visit his channel here). His process showed me how freeing it can be to let spontaneity guide the next steps.
Using this technique, I focus first on rebuilding the trunk and branching structure of the bonsai. Then, I apply color to the foliage areas, thoughtfully modulating between warm and cool hues and moving across light and dark values to create a balanced but lively surface.
Updating the Kanji and Moving Forward
Once the expressive marks are in place, I return to the Kanji symbol. To better integrate it into the new background, I mix a warm grey tone and re-stencil the Kanji onto the artwork. This small but important update helps pull the piece back together, ensuring that the elements feel united rather than disconnected.
Though happy with the results, I view this phase as another opportunity to respond intuitively to the painting, rather than aiming for “perfection.” In art, as in life, we often must embrace moments of loss to discover even greater gains.
Watch the Full Process
I invite you to watch Part 7 and see the transformation unfold. This stage is filled with insights into embracing the unexpected and letting creativity guide your hand.
Thank you for being part of this journey! I’d love to hear your thoughts—feel free to leave a comment or share how you approach “loss and gain” in your own creative process. Stay tuned for Part 8, where I begin to refine and define the emerging image.
Join me in the gallery for new artwork, bonsai and landscape inspiration, plus behind-the-scenes process.
