Mixed Media Workshop with Carol Nelson

This is most of the enthusiastic group that was cuttin', and tearin', and pastn' in my torn paper collage workshop held at Judy Patti's studio.

That's me in the back row for a change (I was standing on a stool).
We learned about altering all kinds of papers from newsprint, to copy paper, to deli paper, to tissue paper, to tyvek, to metal foils for use in our mixed media masterpieces.

After altering our papers the first day, students were asked to create a collage of a single subject object - such as an animal, bird, flower, etc.  The second day, most felt brave enough to tackle an abstract composition.  I brought several examples of my own work which they were encouraged to copy if needed.

With so many mixed media materials to choose from, I took care to tell them to use a limited palette and a simple cruciform design pattern.  I told them that I would slap their hand if they put anything in the corners, the idea being to work out from the center of interest.

Often times, with abstract work, students aimlessly arrange the mixed media components without really thinking about composition.  That kind of approach leads to a mish mash of random placements - like a big hunk of tyvek stuck in the corner, for example, that in no way contributes to the whole design.

I also told them to pay attention to values.  Since these abstract works were layered with one paper element on top of another, it was very important to have darks on lights, and lights on darks.

My threat of corporal punishment worked because there were so many beautifully composed mixed media abstracts produced!  And some students had never even done this type of work before.  I was so proud of them.

For more information on my upcoming workshops, click here to go to my website.

Featured Artist Faith Te

Being a Daily Painter must take an extreme amount of discipline as an Artist. When and why did you decide to become a Daily Painter?

I think I first came across the Daily Painting movement back in 2007 but I never really paid any attention to it because, at the time, I was working primarily in graphite pencil and charcoal and doing only commissioned portraits. I didn't try oils until about mid-2008.

299 by  Duane Keiser

What really got me into the movement was when I saw Duane Keiser's 1,000 Oddments project . He creates these lovely, tiny paintings of very commonplace subjects and sells them through his blog. I was really intrigued by the thought of creating a sizeable body of work in a relatively short period of time and the fact that people were actually buying them. This was far from the idea I had that, as an artist, the only way to "make it" was to either do commissions or create these huge, highly complex paintings and hope that someday I would be able to enter them into galleries and shows. So that was the spark that started everything for me.

I became so enthusiastic about it and I remember my Mom encouraging me to give it a try. She said it may not be as financially rewarding, but it would be great practice. So I made a goal to complete one small painting each day for 365 days and on June 20 of 2009, I painted my very first daily painting. I also started a blog and posted the first one on the 4th of July that same year.

Red Plum No.2 by Faith Te

With regards to discipline, what made me stick through that goal was the joy of being able to create something every single day. It made each day meaningful because, whether the results were good or bad, I was able to show something - a record - of what I accomplished that day. Also, I was really determined to improve my paintings and it was something I was genuinely passionate about.

Portrait 2 by Faith Te

Have you always been a painter, or have you worked in other forms of Art as well?

I started as an artist using graphite pencils and charcoal. Most of my work then were portraits and I did commissions for other people too. For a while, I also played around with pastels -- mostly just for fun. I also like to do a bit of portrait sculpting with clay and this is something I'd like to pursue more if I can find the time!

At what age did you discover your Artistic abilities, and do you have any specific memories of art in your childhood that stand out?

I can't say that I "discovered" any artistic abilities because when I did my very first drawings, I didn't really think I had any abilities above the ordinary. Rather, there came a day when I was 16 that I suddenly decided I wanted to draw. As soon as I drew my first few portraits, it came to me that this was something I wanted to be good at. From then on, I kept practicing every day for almost the whole day.

I remember that I enjoyed drawing fashion-type women as a grade school child. Also as a child, I remember watching Bob Ross on TV. No matter what others say about him, I credit him for introducing me to the joy of art at an early age.

What Artists do you admire, and why?

This will be a long list! But to name a few:

Andrew Loomis, Zoe Mozert, Norman Rockwell and the other early illustrators - I'm quite fond of the 30's to 50's look and so find their work very appealing. I also think these illustrators are some of the most technically competent artists.

Michael Deas - One of my most favorite portrait painters. I LOVE the commemorative stamp portraits he did of the classic actors and actresses like Marilyn Monroe and Humphrey Bogart. His painting of Gerald Ford was also one of my inspirations when I was working on the portrait of an artist a while back (http://www.artisticrealism.com/paintings/oil-portrait-painting-s.jpg).

Alfredo Rodriguez - Because his paintings are filled with light and stories.

Peder Mork Monsted - One of my most favorite landscape painters.

 John William Godward's "A Classical Beauty".

Do you have a favorite piece?

I have a lot of favorite paintings as well. It's so difficult to choose just one but for now I'll say John William Godward's "A Classical Beauty".

Eye Drawing Tutorial in Graphite Pencil 

Where would you like your Art to take you in the future?

I would love to do some teaching, one on one or workshops. It's really interesting how teaching is not just a learning opportunity for the students but for the teacher as well! I experienced this firsthand when I did my online tutorials  http://www.artisticrealism.com/painting-drawing-tutorials.html . It turned out to be more than just writing down the steps and techniques. There was also a lot of research and study involved.


Have you been given any advice that has stuck with you that you would like to share with aspiring Artists?

Someone once told me that "even subtle details count". It opened my eyes and I started to see differently. I began to see more. I observed even slight changes in tone, detail and I noticed transitions that ended too abruptly, etc. I think it helped a LOT in my work.


What does the future hold for you and your Art?

Nobody can say! Making art has been a great blessing to me. So if God is willing, I just want to go on being able to enjoy painting and drawing and, hopefully, people will continue to like my work enough so I can continue to put food on the table for my family :)

You can find Faith and her wonderful works at:
http://www.artisticrealism.com/faithteblog/
http://dailypainteroriginals.com/Paintings/List/4
http://www.artisticrealism.com/faithteblog/
https://www.facebook.com/FaithTeArt

Don't miss Faith's gorgeous book!
PEARLS FROM THE ORIENT: Daily Paintings

Artist Interview Kim Rempel

Still life with lemon and flowers

Being a Daily Painter must take an extreme amount of discipline as an Artsit. 
When and why did you decide to become a Daily Painter.
I became a daily painter in June 2009. I came across the movement by chance while searching for painting information online. At first I didn't know if I could last more than three weeks but here I am, three years later ; ) As for the daily part of it requiring so much discipline, I have to say I don't buy into that much. Some people seem so amazed but I think, well, I just work everyday like everyone else out there! The exception to that is if you have other full-time employment (including being home with underage school children). Then it is a feat.
As for the why, it really was a personal decision to see how much I could improve if I worked daily - you know, the miles and miles of canvas etc... We always tell our children: practice, practice, practice...so I thought I'd take my own advice. I go through stretches where I move away from the small format (completing one a day) and work on larger pieces. But I've come to realize I need the variety.

Suburbia

Have you always been a painter, or have you worked in other forms of Art as well?
I graduated as an Illustrator (major Book, minor Advertising) and then worked as a graphic designer for years. After my second child was born I decided to move away from the computer and begin painting again. I had really missed it. It was one of those things that I sat down one day and thought: What I really want to be is an artist. From here on in I am taking the steps to make it happen. I made a couple of goals, enrolled in classes and began working at it.

Rest

At what age did you discover your Artistic abilities, and do you have any specific memories of art in your childhood that stand out?
I love this question. From the earliest I can remember I always loved drawing and colouring and looking at art. I do remember as a very young child staring at a sheet from one of my colouring books and just being enchanted by the promise of it all ; ) It was a mom and child making Christmas cookies and I loved decorating the cookies with my crayons, colouring in the apron etc... Children's book illustrations also got my attention and I could get lost in them for hours. And you know, it's funny, but now that I'm thinking about it I remember we had a board game called "Masterpiece" and part of the game were reproductions of famous paintings - kind of like postcards. Does anyone remember that? And I just loved sifting through those cards! My parents were not in the field but always encouraged me.

Great White Oak

What Artists do you admire, and why?
Oh. The list is so long! Well, John Hartman because of his colour and paint application, David T. Alexander for the beautiful way he sees this planet. Sidney Licht for the way she can pare things down. I'll stop there for now. Oh - can I add Vincent vanGogh? Because of...everything  ; )

Gerrard and Parliament, 2010, by John Hartman 

Pink Water Cross Hatch by David T. Alexander

Sydney Licht

Untitled (Winning Code: KWVPJ)

Do you have a favorite piece?
Hundreds. It changes by the hour. But right now I'll pick "Moving On To Cathedrals" by David T. Alexander.

"Moving On To Cathedrals" by David T. Alexander. 

Where would you like your Art to take you in the future?
I'd love to travel and paint. That would be a lot of fun. I find new landscapes so inspiring. It would be interesting to work with children - do a bit of teaching. The chance to unlock something in someone is very appealing - especially with kids who've had a hard go of this life. To be able to show them what they are capable of producing, and new ways of looking at things - I would love that.

White Lie

Have you been given any advice that is stuck with you that you would like to share with aspiring Artists?
I would say paint, paint, paint. And look at a lot of art. Be open to it. Learn. I'm tempted to say "Don't beat yourself up" but I do that all the time. And I've finally made peace with it. I think it's what fuels me to get better ; )

Cupcake Fever

What does the future hold for you?
I don't know! But I love what I'm doing, keep educating myself, and go forth with optimism and an inquisitive heart.

June Pond

The work of Kim Rempel can be found on KimRempel.com, and on her daily paintings are posted on her blog at EatDrinkPaint

Carmen Beecher in International Artist Magazine

Carmen Beecher's art is displayed in the Feb/Mar issue of International Artist Magazine, with her process shown step by step in her painting of Spoonbills in the Everglades.