On daring.

 On Friday, we had open studio, watched 'Sherlock,' and made some art. 

I had just posted these two giant pieces the day before and was considering a comment as I sat down to paint. 

"One thing to keep in mind about not having a face is that sometimes it can be interpreted as the character not having an identity or not knowing her identity or maybe that the character is not in touch with herself or her feelings or something of that nature. This may or may not be your intention! I think somewhere in my art schooling an instructor pointed this out to me. Love your work!!! Roseanne"

Now, there's a lot I've learned from watching vids and reading books and experimenting, but one of the things I acutely miss is the wisdom from art teachers. I know art school is stressful, and there are things it can't teach, but I remember the first time I learned about what some of the old masters used red - I had no idea I could use a single color to convey so much. 

Art is a universal language, and I'm sure we do many thing instinctively, but until I read this comment, I had never considered the lack of facial features to equal a lack of identity. And I LIKED getting this new information. I sat down and pondered what I had drawn and WHY, and WHAT I wanted to be saying, and was able to with a fresh pair of eyes. 

I love LOVE being able to gain perspective on what I'm creating. That's one of the reasons I'm sharing so often these days...I feel like we can all teach one another, and the instantaneous nature of social media = perfect for this. (Also, know that I am open to any suggestions or observations you may have...I don't share things before I'm ready to hear what the Internet might say).  

Anyway, this comment got me thinking. So I decided to try new things and push myself. Which was scary, since I loved both of these before I barreled forward. I may have made them worse, or better, but I can honestly say I dared.  

That kinda feels like the lesson I'm emerged in right now. 

 (I couldn't help myself...that moon behind her is in silver leaf!)

Art Journaling Classes (in Mesa, AZ!)

It's been over a year since I last taught in person, and more than that since my last live art journaling class. 

There is such a difference between sharing online and sharing offline -- I can "hide" behind the computer, and usually run away after posting something BIG! But offline, you're really selling yourself and your art, and it can be quite intimidating! 

(But the love and likes and comments I get online often make me stronger & more confident to reach for dreams like teaching in person or getting my art hung in a gallery -- I haven't done that last part yet, but know that your comments and inquiries about paintings have started making me feel like I can do it!)

This new work I've been doing is so rewarding and has me excited to play and experiment every day, and I really want to share what I've discovered so far with all of you! 

Here's the deets on local, in-person classes I'm teaching this month. And! I'm filming an online version of the color and texture class this week, so if you're interested in that, start saving up now! 

Both classes are at in my shared studio space @ Artspiration Studio, in Mesa, AZ.

Art Journaling w/ color, texture, and shape (click here to register!)
Saturday, May 17th 2-6:30 PM
Teacher: Samie Harding
Cost: $65

Have you always loved texture and color? In this art journaling class, you’ll explore your own palette by discovering which of your favorite colors work well together, create a million layers (roughly), and learn more texture-making techniques than you thought were possible! We’ll be doing collage, stamping, and figure-drawing (or tracing!) in our art journals before diving into a bright sea of color. This is extreme acrylic layering like you’ve never seen before!

We’ll also be creating own own tools, modifying ones you can grab at the dollar store, and playing with those available in the studio. Get ready for a messy day of paint & self-expression!

(All tools welcome except the paintbrush! I know…no paintbrushes? Yep! Anyone can do it, no matter what your experience level may be. You’ll learn a lot about acrylics either way!)

Supply list Needed for Class:

Favorite acrylic paints
stamps
ink pads
pencils & markers
glue (gel medium, mod podge, etc)
scissors
palette knives (plastic or metal) or spatulas (dollar store)
2-3 catalyst tools (my particular favorites are: Blade No. 1 in size 15 and Blade No. 2 in size 30 ) http://princetonbrush.com/catalyst-blades-oil.html

Stamp Carving (click here to register!)

Thursday, May 29th 6:30-9 PM
Teacher: Samie Harding
Cost: $35

Have you always wanted to make your own stamps but never knew where to begin? In this short introductory class, we’ll learn how to make hand-carved stamps from start to finish, including the basic tools and terminology you’ll need, materials you can carve, & how to draw and transfer your designs! You’ll also learn a bit more about what paints are best for stamping on mixed-media journal pages or canvases. Don’t worry if you don’t have any stamp ideas yet — you’ll be provided with a sheet of original designs to practice with!

The supplies needed for this class can be found in any arts & crafts store or online at dickblick.com.

 Supply List

Stamp Carver Handle
#1 and #4 carving blades
(Grab the Speedball Speedy Carve Stamp Making Kit to get everything you need in one box!)
Dollar Store erasers
Black ink pad
(Optional: art journal to test print in, ruler for straight lines, additional carving blades, pink or white carving blocks)

Going BIG

Some days, I go to the studio and have a plan in mind. There's something I want to try, or finish, or a combinations of colors I want to explore (lately, it's been color palettes from Doctor Who I found on Pinterest). 

Other days, I just go and doodle or mess around. Draw for a bit or clean my tools. I've been known to sit there and look at Instagram or read. Not all creative work is done on the surface; the atmosphere in the studio is so amazing, I like to soak it in and let it guide me. 

Recently, I noticed that I was liking the pages created in my journal better than the ones on canvas, where Wireframe Girlsw were concerned. I just liked the look, or the way the pencil and inks worked on paper rather than canvas. I adore my garden series on canvas, but these girls...they work on paper so much better.

So I thought I'd step up my game and pull out my GIANT pad of Strathmore mixed media paper (18"x24") and start exploring this new vein - if I like the a Wireframe Girls on paper, but only in my art journal, could I translate the experience to bigger pieces?

To answer: yes, so far. 

I did the top one last week, but went in and added subtle shading with a Conté crayon and a paper blending stump, which was a great way to warm up. 

The second is still a WIP - I had a bunch of paint left on my palette from some other work I did, so instead of collaging and stamping and grabbing a reference image, I just started doodling and throwing down paint. There wasn't a full range of colors, since I just wanted to use up what was left, but I think it came out kind of amazing. 

And I think it serves as a reminder to how I got into doing these abstract girls in the first place - as a way to use up paint, or make a mess. I think I've gotten so concerned with adding texture that I've gone a bit overboard...you can kinda see it in the first one...all that texture added with each layer. It's magic and practice that keeps it all from mixing together (I don't wait for layers to dry...I just keep working!). 

I want to know what these women are thinking. What's going on in their lives? What is surrounding them? Do they need to escape, or are they content where they are? I feel like there's so much emotion, despite being faceless. Someone asked me if I was going to be adding faces later, and I honestly don't know. I'm leaning towards not, and here's why: 

The less detailed a face/illustration, the easier it is for the reader/viewer to put themselves into the story. The more detailed, the more we see it as 'other.' I'm terribly paraphrasing a book on creating comics, but this is the general idea. I felt like we all got super obsessed with making face, we forgot about everything else. 

What do you think? 

Also, if you're local, I'll be teaching this method of brushless painting on May 17th! Link to info and to sign up on the sidebar.  

a hand made alphabet

Remember me? 

I wanted to leave the gouache post up for a bit, since I've gotten so many questions about it; I also had a busy weekend, which means I was knocked down with a flare up Sunday night (it's cleared up, btw, which means studio time tomorrow!).  

Last week, I decided to tackle carving my own alphabet stamp set. I'm teaching a stamp carving class here in Phoenix later this month, and wanted to have a nice spread of different things you can create. Plus, my skills were a bit...rusty! And of course, this is one of those crafts that you just can't stop once you start up again, so I've been carving up a storm! 

I threw down some watercolor on a spread in my art journal and decided to keep a little record of what I've carved. Some of these need to be cleaned up - I have a feeling I'll clean them up until there's nothing left! - but love the little set. I kinda want to tackle a cursive one, next...

I also had the crazy idea of carving Captain American's shield (I'm a touch consumed at the moment, but am a life-long comics fan). I did those little arrows in the corner as well, so I'm thinking I may make a complete Avenger's set. Not that I can use them in artwork, but a lot of the fun of carving is in carving...cutting away the letters or shapes and creating something from your hands, a cheap cutter, and erasers (the alphabet is from cheap white erasers, the rest from some speedy cut I've had since my last Stamp Making Obsession). 

I use a lot of these in my art, as I don't have to worry about copyright issues...plus, I love having pages and paintings that are ALL MINE...from the stamps to handmade papers to the figures I draw. It's a certain kind of magic, to hold a finished thing in your hands. You took raw materials and made it with hard work and perseverance. 

(Notice I didn't say talent. That's because we can all do it, make stamps or draw or paint...just takes lots of practice, commitment, & enthusiasm!)

Gouache 101 (for art journaling)

This is a LONG post. But there's tons of info/pictures in here! 

Last year, I picked up a new medium to play with in my art journal - gouache. 

It’s a magical kind of paint, shrouded in mystery and a decided lack-of-books or blogs devoted to it. I’ve always been the kind of girl who experiments with a material, but I like to know a bit of starting information before I begin playing around, a jumping-off point so I don’t waste materials by using them wrong. 

But once I have a bit of a feel for it, I simply use it, and keep using it, becoming comfortable through application. You can read all the info you want on the web, collect books, and watch vids. None will teach you as well as your own experience. 

I found a lot of this at the forums of Wet Canvas, where there’s a devoted monthly gouache thread and a bunch of beginning tutorials. However, the type of art they create, while amazing and beautiful, doesn’t really align with the kind of art I want to create. For that, I found inspiration in Becca Stadtlander and Lisa Congdon and that dynamic dream team of Mary Ann Moss and Pam Garrison. There are also a bunch of artists who use gouache in new and exciting ways, such as JAW Cooper and Amy Sol. And if you want a daily infusion, hit up the tumblr blog Gouache Collective. 

And perhaps the biggest advocate of the awesomeness of gouache in an art journal is Roz from Roz Wound Up. Here’s her gouache compendium post that is, possibly, the holy grail of art journal gouache questions. 

That’s all just to give you an idea of what other people are doing with this awesome medium. I’m going to approach this as the student-me, and answer all the questions I had when I was getting started. If you have any that haven’t been covered, feel free to leave a comment or shoot me an email & I’ll be happy to clarify things for you. 

What is gouache, exactly?

Gouache is, at it’s core, an opaque watercolor. Traditional gouache is bound with gum arabic, just like watercolors. However, gouache has way more pigment in it, which gives it its covering power and matte, flat finish. Yep, there’s no shine to gouache…it dries flat, which is what makes it excellent for illustrations, as you can photograph or scan it and the colors will be captured brilliantly. 

Because traditional gouache is bound with gum arabic, it can be mixed with watercolors. 

The second type of gouache is acrylic gouache. This is what I use because it is amazing. The difference is the binder, or what holds the pigment together…this gouache is the love child of traditional gouache and acrylics, and boy do I love it. 

You see, regular gouache can be re-wet, just like watercolors. So you have to be careful when layering because you can pick up previous layers. But acrylic gouache can be layered much like acrylic paint, with the added awesomeness of concentrated pigments and matte finish. 

What is it used for? 

Gouache is a favorite of illustrators and plein air painters. It dries fast & can really produce striking colors. It can also be used for larger format pieces, but if applied in too thick a layer, can crack & flake. It’s best for smaller pieces and in an average sized art journal. Sometimes, artists will do a piece in watercolor or acrylic, and then go back in to add details and final elements with gouache. 

How do you use it? 

A little can go a long way. I start with a small, dime-sized amount on my palette & add a brush full of water. That means I just dip my #6 round into my water dish, tap it a little on the side, and mix that into the gouache. You want it to be a nice, creamy consistency that is easy to spread (this is also why hand-lettering artists love using it!). 

PS. These aren't the same colors...just as close as I have in each kind. 

If you want to do a glaze or thinner layer, you can mix traditional gouache with gum arabic, or acrylic gouache with any acrylic glazing medium you have. All those fancy mediums you use with your acrylics can be mixed with the acrylic gouache! 

Because it’s opaque, you have to mix colors with white to create lighter tints, and mix in black or a neighboring shade to create, well, darker colors. This takes a little learning, color mixing & theory, but I say just start playing around and you’ll soon get the hang of it. I can’t tell you how to mix many of my favorite colors just because I do it instinctually these days! 

Many lines of gouache carry lots of colors so you don’t have to do much mixing at all. 

What kind of brushes do you use?

Personally, I’ve found that round brushes for watercolor work the best. The bristles hold the water and paint really well, and the size and type of painting I’m doing works best with round brushes. I do have one wash brush for larger areas (mostly backgrounds), but that’s it! 

Because gouache is so velvety smooth (seriously, run your hands over a painted page and yuuuum!), synthetic brushes are best, since you aren’t looking for the texture that comes with using natural bristles. I use Blick studio, Windsor & Newton Cotman, & Simply Simmons brushes. 

Can you put it in pans like watercolors?

Yep! Traditional gouache can go in little pans — here’s a post by Mary Ann where she explains her method — but the acrylic gouache can’t. :( Because it’s acrylic, when it dries, it’s DRY. This is why you need to kinda know what you’re doing before you get started. 

What’s the best way to work? 

Gouache, like watercolors, is a medium that lends itself to planning rather than spontaneous expression. While you don’t have to have everything drawn out before you start to paint, it pays off to do everything of each color and shades/tints at a time, even if that means there are holes. You can’t squeeze out five colors and work all over the place for a half hour/hour like you do with acrylics — having an idea of what you want to paint beforehand really helps cut down on wasted paint. 

I also have an airtight palette that can help extend the life of my paints, in case I get interrupted…I just close it up and the paints keep for awhile. Of course, if you’re working with traditional gouache, such as the cheap Reeves set, you can re-wet things. I once squeezed some of that into my palette, and it kept tacky/wet for about three days! 

It works to layer things. Put down a mid-tone everywhere and start layering the highlights and shadows over that. Looking at the progress pictures of those artists I linked, or going through the Wet Canvas forums will give you an idea of how others work. I recommend sitting and working with the gouache on your own for a couple of weeks to develop your own plan of attack. 

Because of the matte finish, you can layer colored pencils, crayons, pencil, and more over it easily once it’s dry. 

Can I use water brushes with it? 

I’ve used mine with both types of gouache…just as long as you keep the bristles clean, I don’t see a problem. 

Why do you love it so much? 

Hrmm. There are a couple of reasons. I love the rich, velvety texture and the matte finish. Like, a lot. It makes me giddy and happy to look at and feel. 

Because of the matte finish, my journal pages don’t stick together at all. 

It is opaque, which means I can layer colors and have total coverage. I used to use a lot of paint markers, but now I can use paint! When I say it’s opaque, I mean it’s really opaque. 

It’s really easy to draw with and do lettering. Once you mix it with water and get the right consistency, it’s a dream to practice pretty handwriting or draw. I love doing the first layer with a magenta color, then adding layers over that. I mean, I love my fluid acrylics, but the acrylic gouache has the coverage I love and seems to flow a bit better. 

The tubes are MUCH smaller and easier to transport. I have about 20 in my tackle box, meaning I can carry one box and journal anywhere. When I started using it, I balked at the cost — about $5.89 each at Blick (I use the Holbein Acryla Gouache). That’s pretty expensive for a little tube! But you really do get a lot from it and if you plan things out, don’t have to worry about mixing or wasting any. And by plan things out, I mean I do a fast, loose sketch and have a general idea (and the opaque thing covers both pencil and INK lines!). 

As for brands and such: 

Reeve’s has a great starter gouache set that you can get for under $10 at most big box hobby stores. The paint isn’t the best, but it’s a great way to start playing and see if you like it. I did the cover of this journal with it, and it worked wonderfully. 

Personally, I use Holbein Acryla Gouache. I’ve tried the other brand, Turner Acryl Gouache, but found it isn’t nearly as creamy as the Holbein stuff. You have to mix in a little more water to get it to the right consistency, and I’m willing to pay $.10 more for the yummy stuff. 

My set of traditional gouache is the Utrecht Designer set. I got it on sale for Christmas, so keep an eye out for the next time it hits $30. It has both warm and cool versions of basic mixing colors, and is really smooth and lovely. 

Roz recommends either M. Graham or Schmincke. Since I don’t use traditional gouache much, I haven’t tried either of these brands, but I trust Roz’s judgement. 

It can be scary to start using a new medium! We want to know all the rules, and have demos, and make sure we’re doing it right. But learning comes from doing, and the way I’ve learned so much is through research and nearly daily application of the stuff. I decided to do all the drawings in the Red Storybook with it since it doesn’t bleed through the page and can be used on thin sketch paper. Yep! Because of how dense the pigment is, you don’t need watercolor paper for it to work right. Anything you can color with paint pens, you can color with gouache. 

I really hope this answered your questions! Phew! 4 pages! If you have more questions, feel free to ask. I’m thinking if there’s an interest, I may do a mini-less on it! 

Just…don’t be afraid to take something out of the box and mess around with it. Unused art supplies are sad because they want to help you express yourself, so take them out, make a mess, and learn something new!

Not Every Creative Day is External

Allow me to ask for your eternal forgiveness for that last post. In order to blog more often, I'm usually on a device of some kind, and while my electronics may know my intense dislike for the autocorrect-spaces-in-the-middle-of-words magic we find on Apple devices, the world does not. My sleepy brain didn't catch most of that, and I'll be editing it to a smooth, enjoyable ride through the English language rather than the mess it is at the moment. 

(I read it with an amount of abject horror, and thank you, dear Allie, for writing me a sweet comment!) 

I'm still working on that gouache post, but it'll be ready tomorrow. I got some amazing comments on Twitter that still have me giggling...especially the one turning the mysteries of gouache into a complex math problem. 

I didn't do much today, actually. I hit the library and art shop with my dad, where we discussed books, pens, and my father's favorite kind of eraser from when he studied art in high school (he drew a LITTLE on one of the scratch pads while I looked for a pencil; I take that as a victory!), then spent hours cooking dinner. There is a little drawing in my daily diary, but that's all. I really feel that blogging every day means posting even when I don't have anything new to report! 

So here are two paintings I recently finished. Yes, they're a bit weird. But I like that I'm allowing myself to make weird stuff because it means blasting out past my comfort zone, and I'm having such a ball out here. Really. You should come out here. We have cupcakes and odd post modern staircases. 

Tomorrow, in the newsletter, I'll write about how compliments got me to teach in person again, and give you locals the details so you can come play.  

 "resonate", 10"x8" mixed media on canvas board

 "midnight garden" 14"x11" mixed media on canvas board

I think we can get so into that initial burst of creativity that we often go for it when we first step into the studio (whether it be somewhere else or your kitchen table). And who doesn't love those long, uninterrupted hours? When we start a project and start crafting the idea, molding it from an idea in our head (or heart)? 

A girl could start a lot of paintings and journal pages like this. 

But then things get hard, or we've put most of what we wanted down, and anyway, life is calling us back, now, so we'll finish things up later. 

Except the next time we sit down to play, we want to do something new. So we bargain with ourselves.  I'll only play for twenty minutes and then tie up loose ends. I'll draw just one face, then finish that other page. 

Except we get into the flow and three hours are gone.  

I d this often, and am trying fight past it to a state of bliss. I can't promise I'll fall I love with all these bits, but I'll try!

so I went into the studio today to hang out for a bit and amjoybe workin on some pages, I ended up varnishing and few canvases and prepping the. To go out into the world as varnishes pieces (I want you to want to touch them!).

Just a day f ain't ing the edges of canvases black and adding final coats. of seeing what I have and where I'd like to expensing my energy. I added to that painting above on the right which is beginning to turn out.

I asked Tangie to shoot a couple of pics of me hugging my newest paintings! I love everything about it...my messy apron, my no-nonsense hair, my glee. 

I know so many of you wish you could be there with me. This one's for you. 

go past your comfort zone

I unintentionally stumbled onto the best time of day to snap amazing neon shots with my iPhone 4S...sunset. I ran outside to grab a shot of that journal spread I promised yesterday before the sun went down, and noticed the neon colors I use in my journals POP off the screen. Of course, there's a bit of graininess to the shots, so I guess tomorrow I'll be running out a little earlier to see what happens! 

Somehow, the above and below pages (part of the same spread) got skipped in blog post land! I made these pretty quickly while at an art sleepover at Becca's, with some scrapbooking paper from Target (little hearts!), neon markers, and the addition of some texture gel to my acrylics. I call them my feather girls, and will be adding to them tomorrow. ;)

Here is the spread I was talking about. I wanted to push myself past my comfort zone...I love the silhouettes and the bright colors, but wanted to do more. Add in some journaling, maybe a drop shadow...I noticed my girls were getting lost in the busy backgrounds and needed to do something. 

I painted in their hair with Distress Stains, then outlined them with my Pentel Pocket Brush & added journaling. The clothes were painted with gouache, and then I painted in their skin just to make it easier to see the figures. 

I've always loved when you can see portions of the original background inside the shapes. I don't know if I'm explaining that right...just look at the gold triangle in the left girl's hair, or the right girl's hair. They don't have names, yet, but I'm sure they'll come to me! 

This is my new endpoint. I have a half a dozen spreads to ink and write on and paint...just look a the black stamping in that yellow tank top! YUM! Color, texture, drawing, journaling, expression....paint me ecstatic! 

PS. If you're Phoenix local, I'll be teaching in-person workshops soon! I'll announce 'em tomorrow. :)