Category: Artist Diary

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Dynamic Loss and Gain: How to use Monoprint Techniques in Mixed Media Art

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.

📌 Watch the full video here: YouTube @rreekers
📌 Support the journey on Patreon: https://www.patreon.com/c/ronreekers
📌 Explore more of my artwork: www.reekersart.com
📌 Follow on Instagram: @ronreekers

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.

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Creating an exciting painting with a beautiful background using Geometric and Organic stencils and Complimentary Colors.

In Part 6 of my video series on creating a bonsai mixed media artwork, the focus shifts to the background. This step builds on the complementary color palette I developed in Part 5. So I begin to energize the painting using layered acrylics and stencils. The result is a vibrant, supportive backdrop that enhances the bonsai image and Kanji symbol without overpowering them.

Starting with Color

I begin by reviewing the color cards selected from the marble paper and use warm tones like Cadmium Yellow Light, Raw Sienna, and Cadmium Orange, and cool tones including Cobalt Blue, Permanent Violet, and Alizarin Crimson. To control value and intensity, I use Ivory Black and Titanium White. This will allow me to lighten or darken any mixture as needed.

Choosing and Placing the Stencils

To create structure and movement in the background, I introduce two types of stencils: geometric patterns for the center and organic patterns for the top and bottom of the painting. I do this so that the geometric stencils can provide a visual counterpoint to the natural forms of the bonsai tree, while the organic stencils hint at elements like wind, clouds, grass, and waves.

Applying the Paint and Building Layers

Using a relaxed, intuitive approach, I begin applying the geometric stencils with acrylic paint in the central area of the composition. Rather than trying to be overly precise, I allow the act of painting to be a bit messy and expressive. This makes the process more enjoyable and keeps the work dynamic.

Next, I move to the top and bottom sections and begin using the organic stencils. I carefully shift the values of the paint from dark to light to keep the viewer’s eye centered on the main subject. Throughout the video, I also show how I mix on the palette to control color temperature, intensity, and value.

The Background as a Supporting Character

This part of the process is not just about adding decoration—it’s about shaping a background that acts as a strong supporting character in the composition. Through thoughtful use of color and layered patterns, the background now feels alive and integrated with the bonsai image.

Watch the Full Process

This video offers practical insights into painting technique and creative decision-making. Whether you’re working in mixed media or another medium, I hope it gives you ideas to apply in your own process.

📌 Watch the full video here: YouTube @rreekers
📌 Support the journey on Patreon: https://www.patreon.com/c/ronreekers
📌 Explore more of my artwork: www.reekersart.com
📌 Follow on Instagram: @ronreekers

Feel free to leave a comment or question—I’d love to hear your thoughts or answer anything you’re curious about. The next video, Part 7, will dive into the theme of Loss and Gain, a reflective phase of this journey.

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Discovering exciting Colors and Creating an creating beautiful Gradations in a Bonsai Mixed Media Artwork

In Part 5 of my ongoing series on creating a mixed media artwork featuring a White Pine (Goyomatsu) bonsai, I take a deep dive into the process of developing a color scheme and applying watercolor gradation. This step brings new life to the transferred image and lays the groundwork for the visual mood of the piece.

Finding Color in the Marble Paper

The color scheme is first inspired by the colors already present in the marble paper. By selecting color cards that reflect the natural hues in the paper—like light yellow and mid-tone grey—I begin to define a palette. As I explore the paper more closely, additional colors are identified: a warm yellow-orange and a cool yellow-green. These become the basis for a broader range of complementary hues.

Using the Color Wheel and Value Study

With the key colors selected, I use a color wheel to find their complements. By drawing one triangle with primary colors (red, blue, yellow) and another with secondary colors (green, orange, violet), I can map where each selected color lies and find its opposite. From there, I look at each color’s value—whether it’s light or dark—and its temperature—whether it feels warm or cool.

This exercise not only supports the development of harmony in the artwork but also allows me to make informed choices before adding any paint to the surface.

Inspiration from Ukiyo-e Prints

As I reflect on historical influences, the art of Ukiyo-e Japanese prints comes to mind. These works often use strong gradations of color to guide the eye and focus attention on the center of the composition. Drawing inspiration from this technique, I begin applying watercolor washes from top and bottom edges, gradually lightening as they reach the center.

Applying Watercolor and Creating Focus

With the color decisions made and Ukiyo-e in mind, I start painting. Using watercolor, I work from dark to light, blending the tones smoothly across the paper. This not only enhances the background but also builds a visual rhythm that supports the bonsai and kanji elements.

The result is a gentle yet powerful transition of color that centers the viewer’s attention and begins to reveal the emotion and atmosphere of the final piece.

Watch the Full Process on YouTube

You can see the entire process step-by-step in my latest video, including the tools, techniques, and reasoning behind each choice:

📌 Watch here: YouTube @rreekers

📌 Support the journey on Patreon: https://www.patreon.com/c/ronreekers

📌 Explore more of my artwork: www.reekersart.com

📌 Join me on Instagram: @ronreekers

Let me know what you think about the use of color and gradation. Your feedback helps shape each new step in this creative journey!

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Magic Transfer of a Pastel Bonsai Drawing to Marble Paper

Creating a mixed media bonsai artwork has been an intricate process, and in Part 4 of my series, the pastel drawing is transferred onto marble paper using a Gel Plate. This method provides texture and depth while preserving the delicate details of the original drawing.

The Process of Transferring the Pastel Drawing

To begin, the pastel drawing is reviewed alongside the Gel Plate from Gel Press. Understanding how the plate interacts with the pastel surface is essential before making the transfer.

The registration of the plate is carefully considered to ensure proper alignment on the paper. Precision is key in positioning the artwork correctly so that the final composition remains balanced. Once aligned, the pastel drawing is pressed onto the Gel Plate by hand, ensuring an even transfer.

Upon lifting the pastel from the plate, the success of the transfer is assessed. A thin layer of Liquitex Acrylic Medium is then applied to the plate, preparing it for the final transfer to marble paper. The paper is placed onto the Gel Plate, and a Yasutomo Baren is used to press down evenly, securing the image onto the surface. To set the transfer, a Masonite board and magazines are added for weight, allowing the medium to fully adhere.

After 10 to 15 minutes, the board and magazines are removed. The marble paper is carefully peeled back, revealing the transferred pastel bonsai image. The outcome is examined, ensuring that the integrity of the drawing has been maintained while benefiting from the new texture and depth.

Adding the Kanji Element

To complement the bonsai image, a Kanji stencil is created. A print of the Kanji is bonded onto cardstock and meticulously cut out using an Exacto knife. Once the stencil is complete, it is placed onto a smaller Gel Plate, and DaVinci Black Acrylic Paint is applied. The stencil is removed, leaving a crisp Kanji impression, which is left to dry.

Once dried, a thin layer of Liquitex Acrylic Medium is applied over the Kanji, and the plate is placed onto the marble paper in the designated position. After being weighted down and left to sit for 10 to 15 minutes, the plate is lifted, revealing the transferred Kanji. The integration of the bonsai and Kanji creates a meaningful composition that reflects both nature and cultural symbolism.

Final Thoughts & Next Steps

The transfer process brings a new dimension to the artwork, blending texture, layering, and mixed media techniques. Each step contributes to the evolution of the piece, making it more dynamic and engaging.

The next video will explore the selection of color and a discussion on the influence of Ukiyo-e aesthetics in the final artwork. As always, feedback is welcomed and appreciated. I’d love to hear your thoughts on the video and process! What did you find most interesting? Let me know in the comments or on my social media pages.

📌 Watch the full video here: YouTube @RonaldReekers
📌 Support my work on Patreon: Patreon @ronreekers
📌 See more of my artwork: www.reekersart.com
📌 Follow me on Instagram & Facebook: @ronreekers

Your thoughts and feedback help shape this creative journey—thank you for being part of it!

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The Exciting Art of Pastel Drawing a Bonsai Tree

Creating a mixed media artwork is a journey of layering, refinement, and thoughtful composition. In Part Three of my How to Create a Bonsai Mixed Media Artwork series, I focus on drawing the Raft Style Goyomatsu White Pine in pastel. This next step helps establish the tree’s form, depth, and color harmony before transferring the image onto marble paper in the next phase.

From Sketch to Pastel: A Vital Step in the Process

Now before applying pastel, I revisit the layout plan from Part 1 to determine the tree’s ideal size and placement. Using Strathmore 500 Series grey paper, I measure the correct dimensions and begin with a detailed drawing in Conte à Paris Sanguine. This foundation sets the stage for a more refined and expressive pastel composition.

Building Depth with Pastel Techniques

Working from dark to light, I layer pastels to enhance contrast and dimension. I first establish the darkest areas of the tree, ensuring a strong structural base. Gradually, I introduce mid-tones and highlights, carefully balancing warm and cool colors to create a dynamic yet harmonious composition. By maintaining a consistent light source, the bonsai takes on a realistic yet artistic presence.

Bringing Motion and Harmony to the Composition

A bonsai tree’s movement is essential to its beauty. I focus on how the trunk line flows, guiding the viewer’s eye through the composition. The positioning of branches and the distribution of foliage are carefully considered to maintain balance. This attention to detail ensures that the final artwork will feel natural and engaging.

What’s Next? Preparing for the Transfer Process

This pastel drawing serves as a stepping stone for Part 4, where I will demonstrate how to transfer the image onto marble paper using a Gelli plate. This next phase will add texture and depth, making the artwork a true mixed media piece.

Follow Along & Stay Connected

I invite you to follow my journey in creating this unique bonsai artwork. Watch the full video on YouTube, and don’t forget to subscribe for updates on the next steps!

📌 Watch the video here: YouTube @RonaldReekers
📌 Support my art on Patreon: Patreon @ronreekers
📌 See more of my artwork: www.reekersart.com
📌 Follow me on Instagram: @ronreekers

Question, Have you ever worked with pastel before? Let me know in the comments! Your thoughts and shares help bring this creative process to more art lovers!

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The Reward of Sketching a Bonsai Tree for Mixed Media

Creating art is a journey, and every piece begins with understanding its subject. In Part Two of my mixed media series, I focus on a detailed charcoal sketch of the Raft Style “Goyomatsu” White Pine. This step helps me connect with the tree and refine the vision for my final artwork.

To start, I revisit the rule of thirds, a fundamental tool for achieving balance in composition. Positioning key elements accordingly, I can thereby ensure harmony within the piece. Next, I define the trunk line, evaluating what works and what needs adjustment. This exploration allows me to make thoughtful decisions about the tree’s structure.

Moving forward, I lay out the secondary branches while considering traditional bonsai styling principles. These branches play a crucial role in conveying movement and natural growth. Then, I explore the base of the trunk, or nabari, observing how it meets the ground and interacts with the clam-shell pot. The final stage of the sketch focuses on the foliage mass and texture, bringing the tree to life.

Each step in this process is intentional. Sketching allows me to refine my approach before committing to the final mixed media piece. This study will guide me as I transition to pastel drawing in Part Three.

Why Sketching Matters in the Artistic Process

Sketching is the bridge between inspiration and execution. It allows an artist to observe, analyze, and interpret before committing to a final piece. For this artwork, I needed to study the bonsai tree in depth—its structure, movement, and balance—so that my final mixed media composition would not just depict the tree but capture its essence.

By creating this charcoal study, I familiarize myself with the trunk line, explore how it interacts with the ground and pot, and refine the branching structure. These foundational decisions will guide the next phase—bringing the tree to life in pastel.

Building on Composition: The Rule of Thirds

A strong composition is key to creating a compelling artwork. I begin this sketch by referencing the Rule of Thirds, a classic compositional tool that ensures balance and harmony within a piece. This method helps me position the tree in a way that feels both natural and aesthetically pleasing.

Breaking Down the Sketching Process

In the video, I take you step by step through the process of sketching the tree:

  • Defining the trunk line – Establishing the flow and energy of the tree.
  • Laying out the secondary branches – Exploring how the tree’s movement is expressed through its structure.
  • Outlining the base (Nabari) and pot – Connecting the tree to its environment.
  • Shaping the foliage mass and texture – Giving the tree depth and life.

By carefully working through each element, I ensure that the final artwork is not just an accurate representation but a dynamic and thoughtful interpretation of the tree’s unique form.

Looking Ahead: From Sketch to Pastel

This charcoal sketch is not the end—it is a stepping stone. In Part Three of the series, I will take this study and translate it into pastel, further refining the tree and deepening its presence within the composition.

Join the Journey

Art is about process, exploration, and continuous learning. I invite you to follow along as I document this creative journey, sharing insights into how an artwork takes shape from concept to completion.

🔹 Watch the video here: YouTube @rreekers
🔹 Support my work on Patreon: Patreon @ronreekers
🔹 See more of my art: www.reekersart.com
🔹 Follow me on Instagram: @ronreekers

Have you ever used sketching as part of your creative process? Let me know in the comments!

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Drawing the Basic Conceptual Layout of exciting Bonsai Artwork

Finding Inspiration

I began this project with a deep appreciation for the Goyomatsu bonsai. Its multi-trunk form symbolizes strength and balance. The idea to pair it with the elegant kanji for “Goyomatsu” came naturally. I wanted to create a dialogue between tradition and nature.

The marble paper provided the perfect background. Its organic patterns complemented the bonsai’s fluid form. Choosing the right floating frame was also essential. I needed a frame that would elevate the finished piece and give it the attention it deserved.

Planning the Composition

I carefully laid out the composition using the Rule of Thirds. This approach helped balance the elements within the artwork. Sketching the bonsai in charcoal allowed me to capture its dynamic structure. Next, I positioned the kanji to maintain visual harmony.

Developing the Artwork

A value study came next. This helped assess the light and dark areas to ensure depth. Compressed charcoal added bold, rich tones. I experimented with different background textures and marks to create a layered, dynamic feel.

Inspiring Creativity

This video series aims to be instructional. I hope to inspire viewers to create their own artwork or simply enjoy the process. There’s beauty in both bonsai and creativity, and I’m excited to share this journey.

Stay tuned for more updates as this project unfolds. Let’s explore the creative possibilities together.

Thank you for joining me on this journey!

Don’t forget to check out my other videos and subscribe to my channel for more art tips and tutorials!

To return to the Blog Home Page go to https://www.reekersart.com/blog-feed/

To view other bonsai related YouTube videos go to https://youtu.be/_FlDrnQdkkI

For post of Bonsai Related work visit my Instagram page at https://www.instagram.com/ronreekers/

If you would like to support my work you can become a patron at https://www.patreon.com/ronreekers

Visit Reekers Art for more insights and to view my latest work!

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Crafting Striking Dead Wood On A California Juniper Bonsai – The Jinning Technique

🎥 Video Description: Join me on a captivating journey into the world of Bonsai as I unveil the artistry behind crafting a stunning dead wood feature, known as a Jin, on a California Juniper Bonsai.

🌳 In this video will show you the meticulous process of revealing the hidden structure of the bonsai by delicately removing foliage, offering a unique perspective on its form. 🌿

🔍 Key Highlights:

00:30:00 Observing the tree

01:30:00 🌲Foliage Removal: Begin to reveal the Jin structure and define it place in the Bonsai composition.

02:45:00 🌲 Bark Removal: Explore the transformative moment as I skillfully remove the bark, exposing the raw and intricate wood beneath.

06:30:00 🛠️ Power Tools in Action: Dive into the creative process as power tools come into play, shaping the surface textures with precision and finesse.

10:30:00 🌅 Preservation Magic: Witness the preservation journey, transforming the wood into a warm, inviting hue that adds character and depth to the feature.

14:16:00 🎨 Beautiful Finish: Immerse yourself in the final reveal as the California Juniper Bonsai showcases a breathtaking dead wood feature, elevating its overall aesthetic. Whether you’re a Bonsai enthusiast or simply curious about the art of sculpting nature, this video offers an intimate look at the craftsmanship involved in creating a captivating Jin on a California Juniper Bonsai. 🌟

As we conclude this journey into the heart of Bonsai artistry, I hope the transformative process of creating a Juniper Jin has ignited your passion. Remember, each tree tells a unique story, and with the right techniques, you can craft your own enchanting ‘deadwood’ features. May this video inspire you to explore, create, and continue the joyful journey of Bonsai. Happy sculpting, fellow Bonsai enthusiasts! 🌳✨ #BonsaiInspiration #JuniperJin

To return to the Blog Home Page go to https://www.reekersart.com/blog-feed/

To view other bonsai related YouTube videos go to https://youtu.be/_FlDrnQdkkI

For post of Bonsai Related work visit my Instagram page at https://www.instagram.com/ronreekers/

If you would like to support my work you can become a patron at https://www.patreon.com/ronreekers

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Bonsai Drawing Series – Wisteria in Pastel

This instruction video shows you how I approach bonsai drawing in pastel. I start off with a sketch on black Canson pastel paper. I like using black because it act as a line as I progress with the drawing. To do the sketch I use a red pastel pencil. The layout of the sketch is important to define how the viewer will move their eye along the artwork. This generally starts at the intersection between the trunk of the tree and the soil. I like to start with a circular motion from there and into the foliage. I find laying out the detail is also important at this stage since it will dictate the texture.

When I complete the layout, it will give me a roadmap of how to proceed with the application of the pastel. When starting with the pastel I like using the darker colors first. This creates a base in which I can start to build my colors. I will lightly blend the color into the paper. To determine the colors that I will use in the motif, I have a set of color cards and compare these cards to the base colors. This helps save time since I don’t have to search through my large array of pastels. Once I determine the colors, I can then compare the pastels to the cards. You will see how I use the side of the drawing to look at how those colors look on the black paper. I enjoy applying the pastel around the object. The negative space defines the object (positive space). I can see how well they are working together at this stage. I love the way pastel lends itself to blending. I can create a soft light and ethereal background by rubbing the color transitions.

The rest of the time is finishing the work up to your satisfaction. I like to think of this as scratching the artwork until in itches no more

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Value Structure – Separating Light from Dark

This video describes for you in detail how I structure my values within a Charcoal drawing. Value Structure in a drawing is a measurement between light values (high key) to dark values (low key). By modulating your those values one can create drama, textural effects and depth of space. The name of the drawing I’m demonstrating on is “Walk Bridge”. My charcoal drawing is for an art show at the San Diego Japanese Friendship Garden in Balboa Park. The exhibit is from November 2021 to January 2022.

These are the materials I used:

Strathmore 400 Series Smooth Surface Paper

General’s PurePowder Charcoal

Winsor Newton (vine) Willow Charcoal Sticks

Chamois

Kneaded Rubber

I like to start out with my area of focus; in this case the walkway bridge. I begin removing the charcoal with the chamois. I work in this method in this as a way to not “fuss” with detail, much like using a large brush will do. From the bridge, I begin removing charcoal to create a circular composition. This is a classical approach where you can move the eye around the subject. The chamois creates a nice soft edge. Soft edges will produce the illusion of light wrapping around objects. These edges will create transitions (passages) from background to foreground.

I hope you enjoy this video. Feel free to contact me if you have any question.

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