Since the video I just posted was embedded, you might have missed the direct link to it – here it is.
Applying Textures using Adobe Photoshop Elements by Nicole S. Young
Since the video I just posted was embedded, you might have missed the direct link to it – here it is.
This morning I started putting together a post about jurying art competitions, coming soon. Yesterday I was the Juror for the Canyon Lake Art Guild‘s new exhibition. It’s always an honor – and a learning experience! Stay tuned to see the winners – and see if you agree with me!
In the meantime, I got distracted by a topic on Pinterest that’s worth sharing (I have the attention span of a gnat). Even if you’ve used Photoshop Elements, you may not know how easy it is to work with textures and overlays using your own photos.It’s also very addictive.
This very short video (you can skip the ad in 5 seconds) by Nicole Young is one of the best I’ve seen. (She uses a Mac, so if you’re using a PC, just replace the “Command” with “Control.”)
So here’s my masterpiece to use as an example. I call it “Morning Desk with Almost-Empty Diet Dr Pepper.” This is the original photo, taken just minutes ago:
Here is is with a texture overlay that I snagged from Free Stock Textures:
You can even use your own photos as textures. Here’s a photo I took when I was dyeing fabric for my Boro Horse:
And here’s what it looks like combined with the amazing Diet Dr Pepper masterpiece:
As I said, working with textures and blending modes is addictive – you have been warned!
A last word – last night I had an email conversation with my Austin-based designer friend Monika Astara about digital art as ART. (She’s doing some wonderful digital collage work and incorporating it into a new line of one-of-a-kind T-Shirts, soon to be available!)
We talked about digital art vs traditional studio-based art. If you ever thought that digital art is not “real” art, read this article for a different perspective.
And if you want to see more digital art tutorials by Nicole Young, check out her website!
If you haven’t heard of Jane Dunnewold, then Fiber Art hasn’t been on your radar in the last decade. And it should be – it’s hot and it’s trending!
A nationally-renowned fiber artist, Jane teaches and lectures internationally, and has mounted numerous solo exhibitions. Her pioneering book on the practice of art, Creative Strength Training, is hugely popular with artists in all media who want to develop their unique voice and make creating art a regular habit.
Jane just made history by being the first fiber artist to have been chosen as Artist of the Year by the San Antonio Art League & Museum. It’s a decisive moment for the 107-year-old Art League, which has traditionally selected painters for this honor. Jane’s portfolio of work wowed the three well-known out-of-state jurors with its depth of content and maturity of style. She was chosen from a field of ten nominees and three finalists.
I visited Jane’s spacious studio last week with Steve Smith, last year’s SAALM Artist of the Year and this year’s committee chair, to talk about her upcoming 2019 Artist of the Year exhibition. Her work on the studio walls was dazzling!
I fell in love with several of her long panels characterized by calligraphic marks and lines resembling music staffs. In the first photo, below, Jane used a flour paste resist to create the fine crackles, and in the second photo, you can see that she incorporated strands of rice paper.
Jane is a generous master teacher whose video lessons can be found on her You Tube channel. One of my favorites is Mastering Thermofax Printing: Gold Leaf. She does a step-by-step explanation of the process that is engaging and easy to follow.
Her books are just as straightforward. Jane is one of those artists who shares her processes and inspirations freely with the kind of openness that one finds in a confident master art professional with an impressive body of work.
In my own library, I have Jane’s 15 Beads: A Guide to Creating One-of-a-kind Beads, Art Cloth: A Guide to Surface Design for Fabric, and Creative Strength Training. Each one is a treasury of inspiration and innovative process.
Below are just a few of the images that Jane included in her portfolio for the Juror Panel’s consideration. When you see the range of color, theme, and confident composition, you’ll see why Jane was chosen. Outstanding art has no material limitation – it speaks to humanity in every medium.
As SAALM Artist of the Year, Jane will be honored with a retrospective exhibition and an accompanying catalogue. Dates for the exhibition are September 8th – October 27th, 2019 at the San Antonio Art League & Museum, 130 King William Street.
Mark your calendars now – everyone at the Art League is so excited about this show! I am a huge fan of Jane’s work, and you will be, too, after you see this gorgeous array of artwork.
I’ve been working with earthenware clay and encaustic medium for a few years now, and really enjoying the combination.
But it occurred to me that not all encaustic artists have a chance to try this combination since they don’t have unlimited access to fired clay like I do.
Then it occurred to me that I have an Etsy shop that sells unglazed clay shards to artists. Hmmmmm. Then it occurred to me that I just got a notice about a discount deal for advertising in Encaustic Arts Magazine.
Aha – the “Earthenware and Encaustic Exploration Set” was born!
I find that when you get an idea, just go ahead with it as if it were already real! Don’t worry about how it’s all going to work. So I put together an ad for Encaustic Arts Magazine that looks like this using photos that I took especially for this purpose:
To make the pieces look good for the ad, good lighting was necessary for the photographs of the clay pieces. So I’m sharing with you a link to a photo light box that I have found to be extremely useful for all kinds of objects – and it’s cheap (about $40) and has its own light source.
It folds up into a flat package, and it comes with different colored backgrounds. As always, you get what you pay for – it’s not what you’d find in a professional photo studio for sure – but it does give good lighting for items up to about 12″.
This is what an art object looks like inside the light box:
Of course, you crop the photos so the edges of the photo box don’t show!
Here are some of the Encaustic Shard photos taken in the new light box – good detail! By the way, I use my iPhone for taking the photos 99% of the time. You don’t need a fancy camera.
To create the ad for Encaustic Arts Magazine, I wrote a simple description of how an encaustic artist might want to experiment with clay on a small scale. The I added the photos. You’d be surprised at how easy it is to put something like this together. True! Here’s a link to how to make an ad using Microsoft Word.
Anyway, if there is a point to this post, it is to follow up on an idea that you think might work as if it were already a success, using tools that facilitate the process.
It’s important to start with the conviction that the idea it WILL work – and in fleshing out the idea, you learn a lot along the way. If it doesn’t work, the journey itself is worth the price of admission!
I’ll let you know if the “Earthenware and Encaustic Exploration Set” appeals to encaustic artists when the ad comes out in June, but even if it doesn’t, it’s always fun to put together an inspiration!
No matter how busy things get, I can always steal a few minutes to spend in my little in-house clay studio (usually in the very early morning when it’s still dark). There is such comfort and calmness in claywork, kinda like meditation.
The space is about 7×10′ – it’s very cozy. I can slip into my chair at the clay table and lose myself in the comfort of hand building earthenware when there’s an extra 30 minutes or so.
A couple of weeks ago I had a Milagro Moment – aha! You know, or course, that milagros (miracles) are those little charms that adorn altars and artwork all over the Southwest and Mexico. What if I made a clay press mold from milagros just like I do from cemetery faces? I could fire it and use it for all kinds of milagro textures.
This is how it turned out.
Here is an unfired earthenware heart taken from the press mold – I sanded it to refine the shape.
Now that I have the press mold, I can use it for lots of handbuilding projects like the small heart-shaped shard pockets that I’m making because they take a comparatively short time to create – see the one on the right:
I can also incorporate the clay shape into other assemblages. This one, a personal altar adornment was finished last night.
The detail that clay can replicate is pretty amazing – I’m using Longhorn White with Grog to form the press mold and firing it to Cone 05.
So getting grounded by working with earthenware always helps me find those Milagro Moments – new ideas that keep the enthusiasm for the next creative experiment alive and well. So, what’s YOUR next Milagro Moment??
Y’all probably know that I taught in the Computer Science Department at Trinity University and have always been kind of a closet techie. So I was really excited to read about an app called CamFind, which searches for objects based on a photo. Kim Komando, self-described as America’s Digital Goddess, wrote about it on her site. I really like her tips (most of the time).
Anyway, Kim wrote: “CamFind uses the Cloudsight API (application program interface) to search the Internet for your image. If it’s a cup of coffee, it’ll recognize that image, translate it into an online search, and give the results. CamFind recognizes almost any image. Plus, it’s free to use. So, give it a shot, to see how well it works for you.
And this was a consumer review about CamFind: “This blew my mind, it even recognized a contemporary abstract painting by an unknown artist that hangs in our apartment as an abstract painting.”
Now if you will excuse me, I am going to take some more photos with my amazingly amusing CamFind app before heading out to the studio to paint.
This is a follow-up to the Borderland post – the GAGA group show titled “A Certain Sense of Her” opened yesterday at the Coastal Bend College Gallery in Beeville, Texas.
In this photo, you are viewing the “quilt” sides of the paintings. Don’t they look amazing? Kudos to Sylvia Benitez and her GAGA installation crew for this great display.
You may remember that I was working on the reverse side of my “Borderland” painting in a recent post.
I decided to intersperse photocopied newspaper stories about the struggle on the border with canvas fragments from the palette I used while painting the front.
This is how it came out.
You can see it on the middle left in the installation photo at the top of this post. It makes a strong statement about the chaos on the border in a very different way that the painting itself does, like two sides of the same coin:
I wish I could have been in Beeville yesterday! But fortunately, Sylvia and the GAGAs posted a video of the installation. Just go the the GAGA homepage and scroll down to the video on the right. You’ll get a great inside view of the scope and drama of the installation.
I am so proud to be a part of this talented group of women!
NATURALLY INSPIRED: WORK BY LYN BELISLE, SABRA BOOTH, JESUS TORO MARTINEZ, AND TIM MCMEANS
I finally got to the this fantastic exhibition at St. Mary’s University which opened while we were in Cuba. The last I saw of my “Unearthed” pieces was dropping them off in a big box to curator Brian St. John at St. Mary’s University – goodbye, stuff!
Brian, a huge talented painter and professor of art at St. Mary’s, treated me to lunch yesterday and a tour of the exhibit – wow! The works by (lucky) me and the other three artists integrates beautifully. Read Brian’s statement to see how all of this came about:
I knew Tim McMeans’ work well and had admired it for some time. His hybrid painted-drawings of two dimensional figures in broken geometric planes were recently featured in a great show at the Felder Gallery.
Jesus Toro Martinez is also a well-know San Antonio painter whose work I knew for its textures and power depicting earth themes. We had met a couple of times, and I loved his outgoing generous nature.
Sabra Booth was new to me, but no longer – she is amazing. Her organize prints and collographs are stunning. In the exhibition, she has one huge collagraphic printing plate displayed next to the framed print it produced. I am a new fan of her work!
I took some photographs of the exhibit when I was there with Brian yesterday – want to see? Just click on the image below!
The amazing Sylvia Benitez, founder of the Gentileschi Aegis Gallery Association, (GAGA) has devised a new group painting installation for the COASTAL BEND COLLEGE Gallery in Beeville.
Individual artists first create a maquette (scaled study) of a painting that might be cut into quilt squares – here’s mine, with notes, which was completed several months ago:
This was the small sketch for the larger painting in close-up – it was just a general idea that I hoped to develop somehow — in my notes on the maquette, I wrote, “I have come to rely on synchronicity, intuition, and collective unconscious” – in other words, I try to trust the process and the concept will emerge.
The next step was to create the painting itself, a 20×20″ work on unstretched heavy canvas with six coats of Gesso. One of Sylvia’s brilliant ideas was to use a separate canvas for the palette, which could them be cut up into a quilt design that would reflect the colors in the painting.
Working from my initial composition, I started the painting, laying our blocks and texture:
At this point, I posted on Facebook that I liked the palette better than the painting! You can’t go wrong with Quinacridone Gold and Payne’s Gray!
Then the painting got to that stage where things get murky and uncertain – I had imaged that it would be misty and soft, but more geometric shapes seemed to be called for.
I almost stopped here. The painting was pretty – but that’s ALL it was. There had to be more . . .
Immediately, I knew there need to be a large dark block on the left — a WALL:
I realized that the painting was becoming the abstract representation of a borderland in turmoil – fences, walls, wire, smoke. Just yesterday I had seen photographs of a bulldozer at a protected butterfly sanctuary on the Mexico border.
Here is the finished painting, titled Borderland:
I am so grateful for the intuitive guidance that helped me express the frustration I feel about divisions and conflict. It’s cathartic to paint it through. Every little dab and brushstroke in the finished piece now has new meaning for me.
The next step will be to cut up the painted scrap palette I used, and create a quilt collage on the back side of the canvas. I’ll post a photo for that when it’s done.
Sylvia’s vision for our GAGA group show, A Certain Sense of Her, should play out well at the Coastal Bend Gallery – can’t wait to see all of the quilted-inspired paintings on site!
Cuba is a land of creativity, contradictions, and complexity. After eight days there, I’m still processing the experience, and probably will for a very long time. (Cuba is a photographer’s dream. To go directly to the photos in my Cuba Journal, take this link.)
Our small group tour included “people to people” interaction with many local artists, entrepreneurs, musicians, ecologists, schoolchildren and more during our travels four areas across the island.
We spent several days in Havana, which is celebrating its 500th birthday this spring. The city is a time capsule of transportation and architecture. Cuba is a country still deeply entrenched in a complex political situation. Nevertheless, innovation and invention are everywhere and the spirit of the Cuban people is inspiring.
There are many helpful guides for Americans who want to travel to Cuba, and it’s important to read them before you plan a visit there. For over 50 years Cuba was essentially off limits to Americans thanks to a 1962 trade embargo that made spending money on the island tantamount to treason.
This all changed in 2014, when the Obama administration announced a reestablishment of diplomatic relations with Cuba. However, to quote travel guide Andrew Scott, “This opportunity will not last forever. The influx of foreigners is rapidly transforming Cuba’s economic and social realities. Meanwhile, political uncertainties in the U.S. make it impossible to know if the borders will remain open.”
I am so grateful that I visited Cuba when I did. For artists, it is rich with visual imagery – and Cuban artists are prolific and skilled, particularly in printmaking. I spoke to several of them about their processes and vision.
One thing we didn’t talk about was Decreto 349, a new decree by the Cuban government that criminalizes independent artists and places severe restrictions on cultural activity not authorized by the Ministry of Culture. You can read more about that here.
The Internet just become available in Cuba two months ago, and vendors were selling WiFi cards everywhere we went. It is going to be extremely interesting to see what effect that kind of global access produces.
I have a lot more reading to do about Cuba, but in the meantime, the photos from the trip continue to inspire me. Here are some of my favorites, presented in a photojournal on my website. I hope these digital snapshots express all the reasons why it’s easy to fall in love with Cuba and its people.