Art Camp for Women

Moving from Assignment to Creative Gush!

(From Constraint to Freedom!)
by Carol Sass Tuttle, Artist and Entrepreneur

I promised to post a finished picture of my pastel assignment after it had been critiqued by my coach, Linda Doll. Her advice was to make the piece predominantly  warm or cool and I chose warm.

Before

We were limited to a triad of colors so I subdued some of the colors that didn't comply. I'm pleased withthe final picture and I think the piece was pushed to a new level with the coaching I received.

After

After the constraint and restriction of the 'assignment' was lifted I felt a gush of creative freedom, and turned to my photo files for subject matter.

I found the photos below that I took several years ago at Walker Ranch, a historical site outside of Boulder where volunteers dress in period costumes and portray early settlers.

Continuing with pastels, I created the painting below from one of the photos.

These young girls caught my eye as they sat together in the barn on the Ranch. 

Then I switched to watercolor on canvas to paint the collapsing fences and outbuildings on the ranch.

That picture inspired a desire to do a series of paintings all loosely based on the them 'garden.' I continued to work in watercolor on canvas, all sized 12inches by 12inches. Longer days and sunny skies have kept my interest in the garden theme going and I have started several other paintings in this series.

But now, enough fun, its time to settle down and tackle my next assignment for class. I'll be more eager to bring my latest pieces in for critique.

 

Organizing Space and Supplies

No point in having it if you can't find it!

While I was expanding and organizing my art studio last week I realized that many of the things I was incorporating would work in any space. Whether your studio subs as the dining room table or your walk-in closet, many of these items would work for your space too.

Crock and Basket. Good for all types of paper rolls, material bolts, long tools and rulers. I got the crock at an auction years ago and have the heavy container on a plant stand with wheels. The heaviness makes it good for my bigger rolls of paper i.e. newsprint ends. The orange wastebasket was a thrift store find. Lorri Flint, our fiber artist, keeps her long rolls of cloth in a 32-gallon Rubbermaid Roughneck trash barrel, which also has wheels. She tried a galvanized trash can, but while it looked really cool, it was awkward to move. We have found that a straight-sided container is the most stable and space efficient.

Flexible bag holder. Another Rubbermaid oldie, often found in thrift stores. This can hang on your wall or on the inside of a door or cupboard door. As a mixed media artist I save interesting bags, foreign newsprint and plain brown packing paper for use in my hand made journals. This is the most compact and efficient method I've found so far. I don't know if the company still carries them, but I keep an eye out for the unassuming beige piece of plastic at garage sales and thrift stores.

Tape or ribbon holder. This is a favorite for me. I found these paper towel holders at Home Depot. So you should be able to find them
easily too. They are short so that you can spot your favorite spool easily and then get to it without unloading your entire col-
lection. Used this way your goodies are kept relatively dust free and undamaged by stacking. Also your bright colored items contribute to the 'art' of your room.

Folding Print Holder. Light weight and convenient, this folding print rack is a favorite for Carol Tuttle, our water color artist.  The stand is easy to set up and also easy to stash in the closet or under a table when she is working away from her studio.
This one anyone, anywhere can manage.
A Clothesline. Yes an ordinary old clothesline, strung along one side of a room can be wonderful for your large or funny-shaped art pieces and materials. You can use it for display or storage or both. Hanging can also help keep your items clean. With care this could also be used to hang large pieces as they dry.

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. 

Watercolor Class Supply List

We provide ALL supplies for Art Camp, however, if you want to purchase your own supplies to use at home, this is Carol's basic Watercolor supply list.

Paper:

- 140 lb or 300 lb. cold press or rough made by Arches or Strathmore. (A large sheet can be folded and torn into smaller pieces leaving a deckle edge on all side.)

Brushes: Make sure they are watercolor and not acrylic or oil brushes

- Two rounds (different companies call them different things, just picture mine when you shop) approx. size 12 and size 6 (sizing changes by company, too, so make sure that one is larger for laying a large wash and one is smaller for detail.

- Two flats (I prefer these over brights) approx. ½ inch and 1 inch

- One rigger - size 1 or 2. (Make sure the hairs are ¾  to 1 inch long. Some companies call them "liners". )

- Stencil brush (inexpensive, found in the craft dept.)

Paint: non-staining transparent shades

One 5 ml. tube each of Winsor & Newton Artist Water Color (not Cotman as this is a student grade) 

- Cobalt Blue

- Rose Madder Genuine (not Rose Madder Alizarin which stains)

- Aureolin Yellow

- Neutral Tint.

Other: 

- Kneaded eraser (Do not use a pencil eraser on your watercolor paper. It will damage the grain of the paper and might leave a residue)

- Pencil

- Palette with cover or a white plate (cover with plastic wrap between uses)

- Small sponge (very absorbent)

- Plexi-glass or other stiff backing board to tape down 140 lb. paper. The plexi should be slightly larger than the size of your paper to allow room to tape it down. 300lb. watercolor paper does not have to be taped down unless you are using a full sheet and getting the paper very, very wet. 

- Masking tape

- Paper towels, inexpensive, white

- Two small water containers or plastic cups (one for clean water, one for dirty water)

- Magnifying  glass 

Hint: To test your brushes to see if they are well made, dip them in water and flick the brush hard. If the bristles line up and form a nice edge on a flat brush or a point on a round brush it is good. Next, wet the brush and make several strokes with it. It the brush collapses after one stroke or the bristles start to spread it is not good. It the bristles spring back to their original shape after each stroke it is good. You don’t have to throw the “bad” brushes away. Later on they can be used for different techniques. But for a beginner, reliable brushes are a must.

Hint: If you did not tape your watercolor paper down and it buckled while drying it can be made flat again. First, let your painting dry completely. Second, turn the paper over and wet the BACK side of the paper evenly. Third, place a sheet of plexi-glass or clean flat material over the entire sheet of paper. Next, place a book or other heavy weight on top of this surface, completely covering it. Leave the weight in place to dry for several hours or overnight. When you remove the weight, make sure the paper is thoroughly dry. Removing the weight too soon might not prevent the paper from buckling again. If it is still wet/damp, put the weight back on and allow more time for drying.