Art Camp for Women

How Do YOU Learn?

Each month I drive from Boulder to Denver to take a class with a gifted artist and juror, Linda Doll, who comes from San Diego to teach my group. We are artists working mostly in watercolor but her advice and tips to improve paintings could work for any media.

 

As we put up our work for critique, Linda has the ability to zero in on the strengths and weaknesses of each piece and in a few sentences let us know what needs to change or be improved to make the picture a winner. By putting her hand or finger on one small area of a painting she emphasizes her point and the whole piece becomes stronger. I’ve already had so many aha moments I wonder how much more she can teach us over the course of a year.

 

But, I find I can only hold on to so much information when I am learning so I have to employ several methods to be able to retain the whole experience. I need to see the painting being discusses. I need to see Linda’s hand over the offending area of a painting and I have to hear her talk about the change that could be made. I have to use my own hand and do the same to emphasize the point. I have sit with the color wheel she recommended we buy in my hands and manipulate it to understand color changes and the reasoning behind it. I have to ask questions when I need clarification and get a direct response. I have to make diagrams of paintings as she talks about them to help me remember the point she was making. I have to make notes on the notes Linda gives us. Most of all I have to transcribe my notes when I get home and reread them during the month between classes.

 

Every part of my learning method increases the amount of information I retain. Amazingly, I’ve found “new” information within my notes after the third reading. I may have written it down but didn’t understand it or know its value until after I’d read it for the third time.

 

After this month’s session I was so excited about everything I had learned and had so many possibilities for completing the next assignment running through my mind I got lost on my way home, a route I take regularly. When I came out of my reverie I had driven several miles out of my way and had to take new roads to get back home. Although disconcerting at first it was refreshing. But then, that’s what I am finding is true about taking this class. My artwork had become stale and is now becoming refreshed as I  learn new routes toward finishing it.

 

Find out how you learn and don’t try to skip steps when the information is important to what you want to achieve.

 

About the photo: This is the pastel painting I took for critique with Linda Doll in September. To make it a “winner” I am challenged to make it either a predominantly warm or cool painting. Right now it is 50/50. I should also make it a stronger 3D picture by making an edge on the painting on the easel to give it depth. I should also darken the leg of the easel so it does not attract so much attention. Of course I took notes to remember all this AND put my finger over the easel’s curve to imagine the change! I’ll send another picture of the corrected painting in a later post.

What chases me?

When in a mode of procrastination my creativity declines, slumps, goes stagnant I don't care how you say it. On days where I am more behind than usual I get less productive.

With the days getting shorter and the morning sun coming through my window later and later, I can easily get side-tracked into a 'normal' pace.

My morning practices (and my morning) go better when done before other folk are moving around the house. They are quiet practices. Meditation, writing, and a quick walk around the hood. If I am up very long before I begin my practices my mind gets the upper hand telling me about chilliness, darkness and just this once.

If I get to the meditation before I can really think (but after I brush my teeth) I know my day will be more productive, which means I'll be itching to paint, glue and write by the time I get a chance to do it. Then procrastination and putting off aren't even an issue.

Well I think I got sidetracked right there - I notice that the more I put things off the harder it is to get up in the morning. If I don't get up EARLY in the morning I miss my daily set up. When I miss my set up I don't have the energy to tackle the icky stuff and then it builds up in my mind, gains weight so to say. Then the next obvious step is to the 'put it off' mode...it's a vicious circle is all I'm saying.

Art Journaling with Layers

Old Enough

I was trying to layer writing in as it's own "depth charge." I wrote out the entire song, The 12th of Never in tiny script and then  used a translucent overlay for the main subject page. I should have used transparent instead of translucent as the script barely shows. Earlier I used tissue with script and laid it in with gel matte medium which has the effect of making the tissue disappear and again adding depth without overwhelming the the journaling subject. I will continue to experiment as I know what I want to see and I haven't managed it yet.

For this journal page I was choosing a  new day for my birthday and this is what I came up with, along with the song which will be the new birthday song.

Happy Birthday.

                                                                          
                                                               Click to enlarge and read about my new birthday!

Why I Do Art Journaling

Each of us at Art Camp for Women are going to make an effort to post some of our own art as a way of sharing ourselves with you.

Sharing for me is a way of being. I believe I exist in what I share, whether it is conversation, art or food. I have a very practical helpmeet that grounds me in the reality of life that I need to have it before I share it...so picky.

This page uses my own 'made' papers as well as some little mosaic tiles I found somewhere. It is also another sample of the water-based poster paint pens by Sharpie...I understand they are a discontinued product so I will stock up.

I don't know if it comes through that I also love to share my values. See the post below for a look at the page with the flap lifted for the items I don't share.

Thanks for reading Lori W - the Lori that does the art journaling.

Danish Puff

Why Culinary Art?

To bring the warm and inviting camaraderie of camp home.

When we first organized camp we had no idea how important our meals would become. Well, being women we knew the meals were important, but we truly did not appreciate how central to the camp experience they would become. Every mealtime we all stop and acknowledge how lucky we are to be where we are and slow down to check in with each other and our bodies.

Danish Puff    Betty Crocker’s Cookbook 1972

A flaky pastry crust with a custard-like topping. Is a coffee cake so much like Danish pastry possible in so short a time? Just try it - you’ll see.
 
½ cup butter or margarine, softened                             
1 cup all-purpose flour*
2 tablespoons water
½ cup butter or margarine softened
1 cup water
1 teaspoon almond extract
1cup all-purpose flour*
3 eggs
          Confectioners’ Sugar Glaze (below)
          Chopped nuts
 
Heat oven to 350 degrees. Cut ½ cup butter into 1 cup flour. Sprinkle 2 tablespoons water over mixture; mix. Round into ball; divide in half. On ungreased baking sheet, pat each half into strip, 12x3 inches. Strips should be about 3 inches apart.
 
Heat ½ cup butter and 1 cup water to rolling boil in medium saucepan. Remove from heat and quickly stir in almond extract and 1 cup flour. Stir vigorously over low heat until mixture forms a ball, about 1 minute. Remove from heat. Beat in eggs (all at once) until smooth and glossy.
 
Divide in half; spread each half evenly over strips. Bake about 60 minutes or until topping is crisp and brown. Cool. (Topping will shrink and fall, forming the custard like top of this puff.) Frost with Confectioners’ Sugar Glaze and sprinkle generously with nuts.
 
10 to12 servings
*Self rising flour can be used in this recipe.
 
Confectioners’ Sugar Glaze
 
Mix 1 ½ cups confectioners’ sugar, 2 tablespoons butter or margarine, softened, 1 ½ teaspoons vanilla and 1 to2 tablespoons warm water until smooth and of spreading consistency.
 
There is no meal more satisfying than one with friends,  when someone else does the cooking, serving and cleaning.

ART BASICS

Watercolor on Canvas - Carol Sass Tuttle

Like many watercolor artists I sometimes paint directly onto stretched canvas instead of traditional watercolor paper. The effects are terrific and framing is no longer necessary if the painting is protected after it has dried. (More about that later.)
 
Here are some things I've learned along the way while exploring this medium.

Not all canvas is the same! Some canvas has been treated with a finish that makes it hard for traditional watercolor paints to stick. You might like this effect after you have used it for a while but I suggest you try a sample painting on each type of canvas you purchase before beginning a painting you hope to turn into a keeper. Painting in watercolor is difficult enough without having the paint slide off the surface when your back is turned or puddle where you have not intended it to puddle.
 
Some types of canvas I've used were perfect and needed no primer. But another canvas was so slick I wiped off the watercolor paint, let the surface dry and then coated the canvas with matte medium. After letting the matte medium dry thoroughly I proceeded with my watercolor. I continue my designs on the sides of the canvas to finish them, too.
 
When I do not like my painting or want to make changes I can remove some of the paint down to the canvas or matte medium surface with water if the pigments I use are non-staining. Or I can remove only some of the paint if my pigments stain. I can also go over parts of the painting with more matte medium and block out parts I do not like. Matte medium will pick up some of the paint beneath it however so I don't expect it to be a true white unless I have been able to remove all the paint first. I make sure the matte medium is completely dry before I rework an area.
 
I use my less favorite watercolor brushes when working directly on canvas and canvas treated with matte medium. The surface is rougher than watercolor paper and I want to know my best brushes have not lost any of their spring or edge from working on this coarser surface.
 
After my painting is done and I am satisfied with it, I let it dry thoroughly. Then I spray it with a coat or two of clear permanent fixative. I use Krylon low odor, clear, matte finish. After each coat has dried completely I can brush on a coat of varnish. Most often I use Golden Polymer Varnish with UVLS (Matte). I have tried their satin and gloss finishes also for different effects.
 
I'm still exploring this medium but love having finished pieces that are durable and do not require framing or glass protection. 

Unfinished Project #1 - 1940's Flour Sack Dish Towel

Post from Lorri Flint, Fiber Artist

I have a number of unfinished projects lurking around my house.  I know I'm not alone, right???  When my fiber art group, Uncommon Cloth, met for our annual retreat in Frasier, Colorado, we identified "completing unfinished projects" as one of our goals for the coming year.

Before we get too crazy with this it's important to realize that some projects are not worth completing.  You might have learned what you're going to learn from it, the fabrics might be ugly, or the design uninspired.  It might not be worth the time and effort to complete the project and it's OK to throw it away - just close your eyes and do it quickly!

A few months ago, Lori came over and spent a day with me de-cluttering and clearing out my studio.  (A day was NOT enough, but it was a great kick start.)  I have continued on my own and have uncovered my box of unfinished projects plus items I have kept over the years because I can see their potential...I just haven't gotten around to doing something with them.

In the year ahead, as I complete one of these projects, I will post my progress.  My hope is to inspire you to do the same. Let us know what projects you finish so we can keep the inspiration flowing.

My first project is a 1940's flour sack.  My husband's grandmother worked at the now defunct Golden West Flour Mill in Longmont, Colorado in the 1930's and 40's and she saved flour sacks to make "tea towels".  As my Father-in-Law, Van, say's "We weren't so flush in those days and we used what we had."   Good advice for today too.

My In-Laws hung on to those flour sacks and now they belong to me.  I can see the potential, so I dyed several during my last fabric (and art camp apron) dyeing session.  I then trimmed up the edges and hemmed my new dish towel.  It's a beautiful hand-dyed mottled gold and no one else in the world has one like it!  The joy of completing it and seeing it hang in my kitchen is inspiring me to keep chipping away on these unfinished projects.

Yours in inspiration,

Lorri Flint