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Astarte’s Mega-Zine
Make your SELF a masterpiece
TRANSFORMATION (issue #1)
www.Go-Make-Art.com
Astarte’s Mega-Zine
Issue 1:
TRANSFORMATION
February 2007
TABLE of CONTENTS
Symbol of Transformation
Catherine McArdle, 2
Published by
Go-Make-Art.com
Try Some Fabric
Lesley Riley, 3
On Being Creative
Jacqueline Sullivan, 4
PO Box 801
Marshield, WI 54449
USA
Mini Travel Journals
Aisling D’Art, 6
Photo Collages
715-955-4622
admin@go-make-art.com
www.go-make-art.com
Rachel Greig, 7
Goal Setting
Lee Silber, 9
Editor/Publisher
Stacey Apeitos
Transforming ATC’s
Barb Thomas, 12
All contents copyright Go-Make-Art.
com Please contact us regarding
reprint rights. Printing of this
document is permitted for personal
use only.
My Creative Process
Claudine Hellmuth, 13
Power of the Flower
Petra, 15
All information presented in this
magazine is offered in good faith. Go-
Make-Art.com takes no responsibility
for any problems or dissatisfaction on
the part of the reader encountered
with the material in this publication.
Practicing Relection
Mary Sullivan Holdgrafer, 18
Gratitude Journal
Doris Arndt, 19
Surfaces & Textures
Sandra Meech, 21
Writers’ Guidelines available at
www.
go-make-art.com/contributors/
contribute.html
Humble Beginnings
Sandra McCall, 22
Embracing a Soulful Life
Lucia Capacchione, 24
Subscriptions:
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com/products/astarte.html
Topsy-Turvy Doll
Stacey Apeitos, 25
Our Cover Artist:
CORALEE BARKER
email cb.absin@bigpond.net.au
“Thoughts are the key in
transformation. Let only GREAT
ones lutter from you.”
Hooked on Earrings
Sharilyn Miller, 29
Transforming Flexagon
Darren Scott, 30
Coralee works primarily with paper
and mixed media. She also put
together the BUTTERFLY CLIP ART
sheets provided with this issue of
Astarte’s Megazine.
Visit our Goodies page
online for
video clips, extra photos and resources
to compliment this issue of our Mega-
Zine.
goodies/transformation.html
More artworks by Coralee, all
featuring images from the clip art in
combination with her own original
sayings, can be found on pages 2
and 4.
Astarte’s Mega-Zine
TRANSFORMATION (issue #1)
www.Go-Make-Art.com
contents
Symbol of Transformation
CATHERINE McARDLE
To watch a butterly drift through the sunshine is an inspiring experience. Yet this exquisite creature spends
the earlier part of its life as a caterpillar, limited to crawling across a surface. Many philosophers, observing
this amazing metamorphosis, see it as a symbol of our human ability to transform ourselves by welcoming
the inevitability of change in our lives.
Some cultures have thought of it as a metaphor for the transformation of the human spirit to another state
after death. The soul would leave behind its limited caterpillar life and ly free into the next life in a splendid
new form. In ancient times the Greeks gave the butterly the name ‘psyche’, the same as their word for the
soul.
The Aztecs used the butterly as a symbol of the last breath exhaled by the dying, and in Zaire a human life
is described in similar imagery – a child is a tiny caterpillar, an adult is a large caterpillar and an old person
is a chrysalis; in the grave the soul comes out of the cocoon and lies away as a butterly. Christian artists
also use the image of the soul freed from its cocoon
of lesh, and in modern psychoanalysis the butterly is
seen as a symbol of transformation and rebirth.
Butterlies abound in works of art from every culture,
not only as a metaphor for human potential, but
simply because their symmetry and color inspire the
spirit.
Archeologists believe the Egyptians used butterlies in
their art work not for religious reasons but simply for
their beauty.
Japanese warlords and samurai favored butterly
patterns on their armor, probably because of the
insect’s delicate nature and elegant symmetry,
achieved through the evolution from lowly caterpillar
to noble insect.
Nearly every language has created its own word
for these beautiful insects - unlike names for other
living creatures, which are borrowed and copied
from one country to another. A cat, for instance, has
a name that is recognizably similar across groups
of languages: in Danish it’s
kat
; in French,
chat
;
in Greek,
gata
; and in Polish, kot. But not so the
butterly—in Danish it is
sommerlue
; in French
papillon
; in Greek
petalou’da
; and in Polish
motyl
—
you could study all the languages of our planet and
ind a multitude of names for this delicate insect.
Perhaps Haj Ross, noted American linguist, has the
truth of it when he writes, ‘Butterlies are such perfect
symbols of transformation that almost no culture is
content to accept another’s poetry for this mythic
creature.’
Collage art by Coralee Barker
CATHERINE McARDLE
is a freelance author
in Australia. Visit:
com
For more symbolism associated with butterlies visit:
Astarte’s Mega-Zine
TRANSFORMATION (issue #1)
www.Go-Make-Art.com
page 2
Try Some Fabric
LESLEY RILEY
One of my favorite things to do with fabric is to
combine it with other materials – paper, metal,
mica, paint . . . anything that belongs in the realm
of art. By combining materials, hard and soft, you
set up a whole new dialogue with the viewer.
Fabric/textile is a part of our everyday lives. It is
used for our clothing, bed coverings, home décor,
bathing and drying, baby blankets and funeral
shrouds. The minute you take it off the body and
treat it like an art medium, you bring new life to
your work.
Historically, cloth has been relegated to the craft
world as functional art: Art-to-wear, art quilts,
tapestry and weaving. But think about it, almost
every painting is done on cloth - canvas or linen
- which is called the support for the painting. It’s
time to move it to the foreground.
The next time you begin a work of art or are
searching for inspiration, consider using fabric. Here
are some ideas for starters:
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stiffen with paint or acrylic medium
scrunch and bunch it
paint or pleat it
stitch it
use selvedges (edges)
weave it into the work
wrap it around the work
transfer to it
write on it
distress or rust it
collage it, glue it, embed it
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Bird image on inkjet transparency
Spoon or burnishing tool
Additional fabric of choice for background layer
Beads, needle and thread
Project: Ancient Birdsong
Instructions:
Print your desired image onto an inkjet
transparency. Remember to REVERSE/FLIP the
image before printing if desired. This is especially
important if there is text. Otherwise it will read
backwards once it is transferred. Set this aside.
This piece combines fabric with crackle paste, paint
and an image transfer you create with an inkject
printer.
Supplies:
Gesso
Golden crackle paste
Soft Gel Medium
Iridescent Bronze luid acrylic
Palette knife
Cotton canvas
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Prepare the canvas with gesso and allow to dry.
Apply a layer of crackle paste (I use Golden) with
a palette knife. When the paste dries it creates
cracks. These cracks are further enhanced by
Astarte’s Mega-Zine
TRANSFORMATION (issue #1)
www.Go-Make-Art.com
page 3
painting with watered down Golden Iridescent
bronze paint, which produces an ancient verdigris
look as the bronze particles separate from the paint.
apply more pressure in some areas to ensure even
transfer or less in other areas for a softer effect. Lift
a corner of the transparency and check to see that
everything has transferred to your liking. You can
continue to rub more, or remove the transfer if it is
to your liking. The crackled surface can be dificult
to transfer onto. If this is your irst attempt at doing
a transfer you might irst practice on a smooth
surface. Experience will create success.
Seal the painted crackle paste with soft gel medium
and when that dries, apply another layer of medium
to begin the transfer process. The trick is to apply
just the right amount and to do it evenly. To test
for even application of medium on your surface and
to smooth the medium, lightly run your index inger
over the applied medium, feeling for very dry or
very wet areas. Smooth to an even application large
enough for the image. The smoother you get it, the
less streaky the transfer will be.
If desired, paint your background fabric with the
watered-down iridescent bronze paint and allow to
dry.
Check for the inked side of the transparency and
lay onto wet surface. The transparency will stick to
the surface. If the surface is too wet, it may slide &
smear.
Stitch the art fabric on top of the background, using
beads.
Lesley Riley
is an internationally known
teacher, quilter and mixed-media artist with
a passion for color and the written word. Visit
Lesley’s website
www.lalasland.com
.
Immediately begin to rub the entire surface with the
back of a spoon or a burnisher using some pressure.
Once the entire surface is in contact, you can
On Being Creative
JACQUELINE SULLIVAN
I need to be creative. After 50+ years of life I can inally
admit it. Creativity is not an extracurricular activity for me. It
is a need. And that leads me to think that, truly, that must be
the case for other people as well.
I believe that we are all born with the programming to be
creative beings. But somewhere in our childhood a “new
operating system” is adopted and the initial creative software
doesn’t work as well with the new operating system.
If you really want to learn about creativity, spend the day
with a small child. Children just seem to know that they live
in a magical world of wonder and discovery. Children do not
have a pre-determined deinition of how the world is, or how
it should look. I remember, reveling in anything that was
bright and colorful. My favorite things were colorful, the great
outdoors in the summer, the yellow house on our street, and
the rose colored walls of my bedroom. I always loved thinking
about the different shapes, colors and textures of nature.
I have always wanted to be able to capture some of those
things on paper and canvas.
All children are creative. In 1968 NASA distributed a creativity
test among 1600 ive year olds. 98% of these children scored
highly in the creative category. When retested ive years later
continued
Astarte’s Mega-Zine
TRANSFORMATION (issue #1)
www.Go-Make-Art.com
page 4
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