I am in the middle of Abstract Painting In Vermont this week, and will post a few pictures of student work a bit later. Meanwhile, here are a few more pieces that are a continuation of these pattern grids. They are all 8"x8", and I will mount them on wood panel. I will be exhibiting them for the month of September at the Crowell Gallery at the library in Newfane, VT.
This is a truly gorgeous A4 limited edition watercolour giclèe print of Kiki, a beautiful kingfisher. The print is reproduced on Hahnemühle acid-free paper, which is a high-quality paper that is resistant to fading and yellowing over time. The print is made using top-quality pigment inks that ensure that the colours are rich, vibrant, and long-lasting. This A4 (210mm x 297mm) print is part of a very limited run of only 45 prints, which makes it a truly unique and exclusive piece of art. Each print comes with its own signed certificate of authenticity. The print itself is also hand-signed and numbered in pencil on the lower corners. This guarantees authenticity and originality. Don't miss out on the chance to own a truly unique and stunning piece of art. Order yours now!
I am in the middle of Abstract Painting In Vermont this week, and will post a few pictures of student work a bit later. Meanwhile, here are a few more pieces that are a continuation of these pattern grids. They are all 8"x8", and I will mount them on wood panel. I will be exhibiting them for the month of September at the Crowell Gallery at the library in Newfane, VT.
Well, the finished pieces are layered and layered and layered, so they are more paintings than prints. The deli paper prints are the beginn...
Hello there! Welcome back to the vocab page where we take some of the arty art terms from the week’s interview and talk about them in more depth. Take a listen to Jane Davies’ interview here.
The motivation for this book came out of a shared belief that what passed as 'theory' in operations management (OM) was all too often inadequate. In one respect, OM scholars were bending over backwards to make theories from other fields fit our research problems. In another, questionable assumptions were being used to apply mathematics to OM problems. Neither proved a good match with what the authors' had observed in practice. Successful operations were managed by considerations that were far more straightforward than much of what was being published. The authors of this book codify these practical considerations into a set of ten fundamental principles that bring together a century of operations management thinking. The authors then apply these principles to important topics such as process design, process improvement, the supply chain, new product development, project management, environmental sustainability, and the interfaces between operations management and other business school disciplines.
First we made a lot of papers using a number of different techniques in a big selection of colors. This is the first attempt at collage usi...
This is a truly gorgeous A4 limited edition watercolour giclèe print of Sorrel a fabulous brown hare. The print is reproduced on Hahnemühle acid-free paper, which is a high-quality paper that is resistant to fading and yellowing over time. The print is made using top-quality pigment inks that ensure that the colours are rich, vibrant, and long-lasting. This A4 (210mm x 297mm) print is part of a very limited run of only 45 prints, which makes it a truly unique and exclusive piece of art. Each print comes with its own signed certificate of authenticity. The print itself is also hand-signed and numbered in pencil on the lower corners. This guarantees authenticity and originality. Don't miss out on the chance to own a truly unique and stunning piece of art. Order yours now!
I wanted to share with you some of the awesome work my students did at Art and Soul in Portland earlier this month. Next year's Portland event will be in early April; I will be teaching three classes, of which I have not decide the exact topics yet. Thinking of something with the gelli arts gel plate, something in composition (each two days), and a one-day class on something else. Requests and suggestions are welcome. These are from the Dynamic Composition class and Layering and Excavating:
I am in the middle of Abstract Painting In Vermont this week, and will post a few pictures of student work a bit later. Meanwhile, here are a few more pieces that are a continuation of these pattern grids. They are all 8"x8", and I will mount them on wood panel. I will be exhibiting them for the month of September at the Crowell Gallery at the library in Newfane, VT.
This is a truly gorgeous A4 limited edition watercolour giclèe print of a black labrador. The print is reproduced on Hahnemühle acid-free paper, which is a high-quality paper that is resistant to fading and yellowing over time. The print is made using top-quality pigment inks that ensure that the colours are rich, vibrant, and long-lasting. This A4 (210mm x 297mm) print is part of a very limited run of only 45 prints, which makes it a truly unique and exclusive piece of art. Each print comes with its own signed certificate of authenticity. The print itself is also hand-signed and numbered in pencil on the lower corners. This guarantees authenticity and originality. Don't miss out on the chance to own a truly unique and stunning piece of art. Order yours now!
I've moved over to a WordPress blog. You can find it here.
A valuable sourcebook for costume designers, dressmakers and those involved in historical reenactments, this book contains all the information you need to create authentic clothes from the Tudor period.
We had a great group last Friday for the Valentine Card Workshop. I'll do it again next February. Here are just a few of the pieces made by participants. All of these are small, greeting card size. It's a great format for exploring contrasts in color, value, and pattern. How do you make an image lively without making it 'too busy'? Where is the line between visual excitement and visual confusion? How simple can you make an image and still maintain a sense of excitement or mystery? Hope you all had a good Valentine's Day!
I started experimenting with hearts in late January, in search of a studio activity that I could do "just for fun". You can see previous posts here, here, and a video here. You can view the whole collection on Fine Art America. My current collage hearts come from an exercise I did with my Collage-a-thon class in Portland the other week. We explored how the shape can be defined by positive and negative space. Heart #39 Heart #40 Heart #41 Heart #42 Heart #43 Heart #44 Heart #45 #46 #47 Heart #48 All of these are approximately 5.5#x7.5"
We had a great group last Friday for the Valentine Card Workshop. I'll do it again next February. Here are just a few of the pieces made by participants. All of these are small, greeting card size. It's a great format for exploring contrasts in color, value, and pattern. How do you make an image lively without making it 'too busy'? Where is the line between visual excitement and visual confusion? How simple can you make an image and still maintain a sense of excitement or mystery? Hope you all had a good Valentine's Day!
I am still working on my 4"x4"x400 project, and it may take me all year to get to the projected 400. In the upcoming show at VTICA, called "Journey into Process" (see invite, below), I will be displaying 60 of the 4"x4"'s, mounted on wood panel, in two grids, three high and ten wide. Here are a few of the latest 4"x4"'s: To participate in the 4"x4"x400 project, go here. Or view the Flickr page. If you are making 4"x4" art, please join the Flickr group and post your work!
I am in the middle of Abstract Painting In Vermont this week, and will post a few pictures of student work a bit later. Meanwhile, here are a few more pieces that are a continuation of these pattern grids. They are all 8"x8", and I will mount them on wood panel. I will be exhibiting them for the month of September at the Crowell Gallery at the library in Newfane, VT.
I teach a workshop called "Monoprint Collage" in which we explore gel plate printing techniques along with collage. For this spring's edition of Monoprint Collage, in Santa Fe, I will be including some deli paper transfer techniques. The video below shows just one of the fun ways you can use deli paper as a printing plate and transfer paper. Deli paper blobs, scribbles Deli paper blobs, graphite scribbles Deli paper blobs, line transfers, scribbles Deli paper blobs, scribbles, and collage SIGN UP HERE
I taught this four-day workshop at Helen Day Art Center last week, geared towards textile artists with not much experience using acrylic paints. Most of the participants fit that description, but there were a few more experienced painters who were not textile artists. I often get textile artists and recovering quilters in my classes, so this seemed like a natural fit. Here are a few pictures from the workshop. These are all Student Work, except for the photo of me fooling around at my table. Thanks for visiting. Check out Helen Day Art Center's other workshop offerings. Among the people who teach there are Galen Cheney, Suzanne Siegel, Claire Desjardins, and others that I admire.
I started experimenting with hearts in late January, in search of a studio activity that I could do "just for fun". You can see previous posts here, here, and a video here. You can view the whole collection on Fine Art America. My current collage hearts come from an exercise I did with my Collage-a-thon class in Portland the other week. We explored how the shape can be defined by positive and negative space. Heart #39 Heart #40 Heart #41 Heart #42 Heart #43 Heart #44 Heart #45 #46 #47 Heart #48 All of these are approximately 5.5#x7.5"
I taught this four-day workshop at Helen Day Art Center last week, geared towards textile artists with not much experience using acrylic paints. Most of the participants fit that description, but there were a few more experienced painters who were not textile artists. I often get textile artists and recovering quilters in my classes, so this seemed like a natural fit. Here are a few pictures from the workshop. These are all Student Work, except for the photo of me fooling around at my table. Thanks for visiting. Check out Helen Day Art Center's other workshop offerings. Among the people who teach there are Galen Cheney, Suzanne Siegel, Claire Desjardins, and others that I admire.
This is a truly gorgeous A4 limited edition watercolour giclèe print of Snowfire a magnificent rearing stallion. The print is reproduced on Hahnemühle acid-free paper, which is a high-quality paper that is resistant to fading and yellowing over time. The print is made using top-quality pigment inks that ensure that the colours are rich, vibrant, and long-lasting. This A4 (210mm x 297mm) print is part of a very limited run of only 45 prints, which makes it a truly unique and exclusive piece of art. Each print comes with its own signed certificate of authenticity. The print itself is also hand-signed and numbered in pencil on the lower corners. This guarantees authenticity and originality. Don't miss out on the chance to own a truly unique and stunning piece of art. Order yours now!
This is a truly gorgeous A4 limited edition watercolour giclèe print of Bella the Italian Spinone The print is reproduced on Hahnemühle acid-free paper, which is a high-quality paper that is resistant to fading and yellowing over time. The print is made using top-quality pigment inks that ensure that the colours are rich, vibrant, and long-lasting. This A4 (210mm x 297mm) print is part of a very limited run of only 45 prints, which makes it a truly unique and exclusive piece of art. Each print comes with its own signed certificate of authenticity. The print itself is also hand-signed and numbered in pencil on the lower corners. This guarantees authenticity and originality. Don't miss out on the chance to own a truly unique and stunning piece of art. Order yours now!
As I mentioned last post I've been busy making roller stamps. They are so easy and cost next to nothing to make, but first I thought I'd show you the cover I'm in the process of making, as part of the demo in my Fabric Journal workshop. I seem to be obsessed with old metal tins and have even added parts of them to the front cover as part of the decoration. the cover in the making, I still have to add the spine and the binding. these are the things required to make the roller stamps - toilet roll centres, thin adhesive backed foam, you can use other thin foam (no more than 3mm thick or it doesn't bend as easily) and glue it down with gel medium, pva glue or mod podge - small scissors and a foam paint roller (the toilet roll tube fits over this and acts as the roller). these are just a few of my completed rollers - cut the foam into simple or intricate shapes with small scissors - the circle one on the end was made using the foam that was removed from the centre of the rings in the second roller from the left - DON'T wash them, the more you use them the more the acrylic paint helps to seal them - one sheet of foam will make quite a few stamps - you can use the pre-cut shapes found in craft stores but they are usually thicker and don't stick as well, I would recommend re glueing them before you stick them down - if you have any problems with the ones you cut staying down, just add a little more glue these are the results of the stamps in the above photo - I use acrylic paint with mine. as I worked in my studio, last week, I looked out of the window and saw this lovely rainbow, by the time I found my camera it had started to fade, but I love the effect the sun had shining on the top of the tree. Looks like a pot of gold at the end of the rainbow. On clear days I can see the bay just over the hill, it really is lovely. Thanks again for visiting and your lovely comments. I hope you try the stamp making, it's very addictive and costs next to nothing.
There’s a lovely children’s book written by Nicola Davies and illustrated by Jane Chapman that tells the endearing story of endangered loggerhead turtles. The book is called One Tiny Turtle. When Janice saw this small turtle slider, she imagined it swimming out to sea after its harrowing challenge of being born on the beach, hatching, and then making its way out to the ocean deep. Little Turtle has an opening wide enough to fit 5mm strap leather but it will also gather multiple strands of round leather. Add a bale (that’s what a group of turtles is called!) to your next Tahoe or Prairie, or try using as a transition bead between sections in a Tricks to Laddering. Made in the European Union from zinc alloy with antiqued copper plating. It is free of lead, nickel, and cadmium, and is hypoallergenic. Sold Individually.
Was ist Homosexualität?
This is a truly gorgeous A4 limited edition watercolour giclèe print of a barn owl. The print is reproduced on Hahnemühle acid-free paper, which is a high-quality paper that is resistant to fading and yellowing over time. The print is made using top-quality pigment inks that ensure that the colours are rich, vibrant, and long-lasting. This A4 (210mm x 297mm) print is part of a very limited run of only 45 prints, which makes it a truly unique and exclusive piece of art. Each print comes with its own signed certificate of authenticity. The print itself is also hand-signed and numbered in pencil on the lower corners. This guarantees authenticity and originality. Don't miss out on the chance to own a truly unique and stunning piece of art. Order yours now!
Just a few more in the collection. See my "Light Hearted" gallery on Fine Art America . Let me know your own ways of injecting a little "jus...
This is not a real Fresh Paint Friday, because I am not making a piece start to finish. I am, however, demonstrating one of the techniques I'm using for my new series of shape arrangements. I will be teaching a workshop on Masks and Stencils at Art and Soul next year in Kansas City (March 20 - 23, 2014), so stay tuned. Here are a few of the pieces I started yesterday. I will post finished pieces next week. These are all in progress: The is the piece in the video. I will, possibly, add ink and then paint. Another beginning using various techniques on the gel plate. The large shape is a ghost print, the others the first pull. I started introducing some brighter colors. The faint curvy lines at the bottom are a ghost print, not using a mask. If you have a gel plate from GelliArts, give this a try! Experiment with your own palette and techniques. You can also make a gelatin plate using Knox gelatin or Monoprint Gelatin. It does not last as long, but gelatin has its own unique properties. I am using my usual set of materials listed on my Links Page. Thanks for visiting!!
I am in the middle of Abstract Painting In Vermont this week, and will post a few pictures of student work a bit later. Meanwhile, here are a few more pieces that are a continuation of these pattern grids. They are all 8"x8", and I will mount them on wood panel. I will be exhibiting them for the month of September at the Crowell Gallery at the library in Newfane, VT.
I recently read a blog post by Alice Sheridan about how to make a "mood board" for your art. This sounds suspiciously like planning out you...
I am in the middle of Abstract Painting In Vermont this week, and will post a few pictures of student work a bit later. Meanwhile, here are a few more pieces that are a continuation of these pattern grids. They are all 8"x8", and I will mount them on wood panel. I will be exhibiting them for the month of September at the Crowell Gallery at the library in Newfane, VT.
I am in the middle of Abstract Painting In Vermont this week, and will post a few pictures of student work a bit later. Meanwhile, here are a few more pieces that are a continuation of these pattern grids. They are all 8"x8", and I will mount them on wood panel. I will be exhibiting them for the month of September at the Crowell Gallery at the library in Newfane, VT.
We had a great group last Friday for the Valentine Card Workshop. I'll do it again next February. Here are just a few of the pieces made by participants. All of these are small, greeting card size. It's a great format for exploring contrasts in color, value, and pattern. How do you make an image lively without making it 'too busy'? Where is the line between visual excitement and visual confusion? How simple can you make an image and still maintain a sense of excitement or mystery? Hope you all had a good Valentine's Day!
I started experimenting with hearts in late January, in search of a studio activity that I could do "just for fun". You can see previous posts here, here, and a video here. You can view the whole collection on Fine Art America. My current collage hearts come from an exercise I did with my Collage-a-thon class in Portland the other week. We explored how the shape can be defined by positive and negative space. Heart #39 Heart #40 Heart #41 Heart #42 Heart #43 Heart #44 Heart #45 #46 #47 Heart #48 All of these are approximately 5.5#x7.5"
This is a truly gorgeous A4 limited edition watercolour giclèe print of Acorn a sweet baby badger. The print is reproduced on Hahnemühle acid-free paper, which is a high-quality paper that is resistant to fading and yellowing over time. The print is made using top-quality pigment inks that ensure that the colours are rich, vibrant, and long-lasting. This A4 (210mm x 297mm) print is part of a very limited run of only 45 prints, which makes it a truly unique and exclusive piece of art. Each print comes with its own signed certificate of authenticity. The print itself is also hand-signed and numbered in pencil on the lower corners. This guarantees authenticity and originality. Don't miss out on the chance to own a truly unique and stunning piece of art. Order yours now!
Thanks for all your feedback and commentary on my Solstice Series. I am happy to hear so many of you are interested in a tutorial on this technique. I'll post the video first, and then a few finished pieces and pieces in progress. Here is the piece demonstrated in the video. It is just the beginning of a piece: A piece from my post the other day, only developed a little further: This one makes use of the same technique, plus the gooey stuff in the middle, which is a demonstration for another time. And one more in this Solstice Series: FYI: My online workshop "Unlocking the Secrets of Color" is still open for registration. It begins June 29. The same is true for "Keys to Dynamic Composition". I have great groups in both workshops already signed up, and if you care to join either one, click here. Thanks for visiting!
Do you get stuck at the blank canvas? Do you want to paint but don't know how to start? As your art practice evolves you will develop your own go-to strategies for beginning, but if you are new at painting, here are a few suggestions. Don't start a painting. Start multiple paintings. Do start with an inexpensive, low-stakes, substrate such as Bristol or 80# Cheap Drawing Paper Do focus on the practice, the process, not the 'finished' painting. Don't try to finish a painting. Do give yourself a time limit if that helps. Here is a video on The Five Minute Painting (this is an old one, not great quality): A group of 9"x12" five-minute paintings I made these 9"x12" five-minute in one session, which was a total of one hour. Be assured that there are infinite ways to start a painting, so you can't find the correct way, nor can you start the wrong way, in terms of the first marks you make on the painting surface. You can start with an attitude that will facilitate beginnings. Your measure of success is: you showed up and applied paint (or collage or drawing) to a surface. You made marks on a substrate. That's IT. Omit the habitual evaluation and self-criticism. Just leave it out; it is totally irrelevant to this part of a painting practice. Let the painting practice be an ongoing inquiry, not a production line. You are discovering what the paint can do, what is in you, who you are as a maker of images. It is a long, slow, ongoing process. A practice. If you set your expectations accordingly it can be extremely engaging and fulfilling. If you begin with the expectation that you will Learn How To Do It Correctly, it can be very frustrating. You will make good paintings - your paintings - when you make a lot of paintings, with attention and focus on process, and with curiosity. Enjoy! Cat Bennett has several books that are encouraging and helpful for making art as a practice. There are many other books and resources on practicing art, but the real learning is in doing the work. Get the paper out, put some paint on it, pay attention, repeat.
