An exciting, popular annual Lubbock art event – the Lubbock Artist Studio Tour – is going virtual! I am pleased to have been selected to share my art with the city (and now that it’s virtual, the wider arts community!) So instead of visiting my actual studio this weekend you can go to lubbockstudiotour.org. The website will be active this Saturday 10 AM – 6PM and Sunday 12 – 5PM. @lubbockarts #studiotour #keepitlocal
I am sorry to not be able to meet all of you art connoisseurs in person this year but I do hope you will check out this unique studio tour. Just go to the website lubbockstudiotour.org to enjoy a video, look at some beautiful artwork, and learn more about the participating artists and their creative spaces. You will get to see 19 artists in 19 studios! As we could only share a few of our paintings on this platform, it is my hope that you can browse some of our artwork and then go visit the artists’ personal websites to see more work and all the art they have available for purchase. Artists will be standing by to message and chat and answer any questions you might have. This is your chance to get to meet us so don’t be shy. I look forward to seeing you virtually this weekend!
Participating artists for the 2020 “Virtual Artist Studio Tour” are: Jessie Dodington – Painting Benna Ellis – Glass Melinda Green Harvey – Photography Roxi Hardegree – Photography Valerie Hill – Painting & Fiber Tif Holmes – Photography Linda Jackson – Jewelry Lahib Jaddo – Mixed Media Carol Koenig – Mixed Media & Pottery/Ceramics Mike Maines – Pottery/Ceramics Pat Maines – Mixed Media Sally McCoy – Mixed Media
Deborah Milosevich – Painting Whitney Morman – Painting Dyan Newton – Painting Judy Robertson – Mixed Media Robert Rogers – Mixed Media Lyn Stoll – Jewelry Rick Vanderpool – Photography
In a few short weeks I am teaching two online workshops in acrylic painting. The first is for teens ages 14 – 18 and runs from June 29 – July 3, 2020. The second is for adults and runs from July 6 – 10, 2020.
Since this is the first time the workshop has moved online, rather than being run in-person at Idyllwild Arts Academy in California, I could use help spreading the word. Please forward this to anyone you think may be interested. The class includes pre-recorded demo videos to watch at your own pace, printable instructional PDFs with visual examples of every exercise and assignment, as well as live zoom painting sessions and Q&A meetings to discuss and critique each daily project.
Anyone can take these classes, they are suitable for complete beginners. Below is the advertisement for the adult workshop, and you can follow these links to register:
I have yet another recent mural experience to share with y’all. The recent Picoso’s Mexican Kitchen mural project caught the attention of an old friend Julie Rooney (now owner of the most adorable shop in Portales, New Mexico: The Happy Place) who recommended me for a mural. The Courthouse Cafe, named for the town’s courthouse that across the street and makes up the “main square”, needed their logo painted on a large scale on the back of the building, making it visible to the road coming into town. I made some adjustments to their logo design: enlarging the word “Cafe” to be more visible and let people know that it is indeed a place of food and drink and not of law. I also made a rectangle around it and fashioned it to look like an old sign. I treated the overall logo to look a bit aged as if the sign had been their a while, to match their business’ nod to the history of Portales and its courthouse.
I learned a lot on this project: most importantly that scaffolding is heavy and one should really order a railing. I rented two scaffolding sets which I built one on top of the other to reach the 10-17 foot high mural space. What I did not anticipate was that standing on a 2-foot wide wooden beam ten feet in the air with no railing gets old really quick. Especially when you’re trying to hold a paint container and brush. I was also informed that scaffolding is often stolen for the aluminum and that I really shouldn’t leave it in an alleyway three nights in a row. Oh. Thankfully I had friends, and the lovely owner Mary with her whole family, to helped me build it and take it down each morning and night. I very much appreciate the practicality of a scissor lift now (though currently a piece of machinery out of my budget).
As ever, I’m grateful to the wonderful people who continue to hire me and spread the word about my little art business. I am so so lucky to do this work.
It’s been a busy season since graduating in May. I had the honor of being hired by a friend, Kelly Reyna, to help her on an enormous exterior mural. Kelly had the mural sketched out in black by the time I showed up on the scene. She had me paint in all the rocks, the background fabric (and add some folds), as well as my favorite part: paint a trompe l’oeil golden frame around the restaurant’s take-out window. After that I shaded and added highlights to the striped fabric to make it look as if it was undulating and she even, very generously, had me sign the mural with her. One of my favorite parts of this mural is the taco-wing selfie section. This part was painted so that people could stand in front of it, giving themselves taco-wings, and take a selfie. The calming mantra: “Inhale Tacos, Exhale Negativity” just about sums up the awesomeness of this project. Pop over to the mural section on my website to see more pictures of this mural and others I’ve done.
I have published my first Skillshare class: https://skl.sh/2TAiHLY on painting landscapes in watercolor and ink. This is something I do daily, and it is a practice I think so many artists and creatives would benefit from. This class and the project we complete within it is easy and loose, meant to diminish our desire for perfection. (Do you know how many artists are perfectionists to the detriment of their creativity, productivity and overall joy?… I don’t. Probably too many though.) In addition to the final watercolor and ink landscape sketch, I also go over how to make thumbnail sketches, what are the main compositional rules that will help you better compose your sketches, and how to hatch and cross-hatch for your value studies. After a value study in monochromatic watercolor we dive into the full-color sketch. The entire class from start to finish is 46 minutes. You can always find a link to the class on the right side-bar of my website, you don’t need to find this blog post again. Here is a peek of the project:
If you use my link to sign up I receive a small payout. Every little bit helping me to build my art business. More importantly, even if you yourself are not interested in taking the class, consider sharing this blog post or the links with someone you know who might be interested. I’m really trying to expand my reach online and every single person who begins to follow me on youtube or takes my class in Skillshare is a great help to me in the long run.
Finally, for those who would love to take my class but do not wish to sign up for Skillshare, I will be posting paint-alongs (of other landscapes etc.) on my youtube channel periodically. Some of these will have explanations along the way as guidance or just to keep you company while you paint.
Thanks for reading! I hope to paint with you soon.
Hi All, Just a note to say I’ve graduated with my three year MFA and am finally taking the time to share more online. You can expect more sketchbook tours soon (where I chat and explain what I was drawing) or flip-throughs (where I just flip on through the drawings and you don’t have to listen to me ramble). Thanks for watching! And if you like it please like and subscribe so you’ll catch all the upcoming videos (which will increase in quality I promise). Happy Friday all!
While in Wendover I ran a bit, hiked a mountain, researched and worked on my thesis. I did some studies of the mountain I climbed to use as reference for my long scroll-like painting (pictures of that coming soon)…
In addition to the Field Notes book I am keeping, there is also a Field Journal I made. It is a hodgepodge of papers, layers of ephemera collected on the trip, drawings and writing:
My run on the salty edge of the Great Salt Lake was slightly surreal, like running on another planet. Every site we’ve visited is kind of like that, but the colors at the Spiral Jetty enhanced the effect. Pinkish water lapping up against sharp, sparkling white salt under a crisp stretch of blue sky. The horizon lined with purple mountains and an island that at times looked connected to the soil underfoot – the trick of a mirage – and other times didn’t appear to be an island at all, and instead blended seamlessly into the mountain range behind it.
I ran 8.5 miles along the edge of the lake where salt meets sand.
Excerpt from my journal:
A place where the sand sounds like a tinkling chandelier, it is so encrusted with salt. It’s rippled and puckered like a vinyl sticker poorly adhered to the earth, or like a wrinkled bed sheet of mini mountain ranges. It’s so bright. I am kicking crystals. Crushing ice, sheets of it underfoot – will they crack? Will I fall through? Sharp granules cut my ankles.
Running here has a dizzying effect, the rise and drop of the little sand rifts. It’s like running in a bouncy house or on a trampoline when your legs receive different amounts of resistance or force. I’m running through a dilapidated cemetery, black rocks sinking and scattered. Lighter slabs of stone up the hill slopes to the north look like newer gravestones (they’re not – it’s all just rock).
The rest looks like what I imagine the Australian Outback to look like.
On my birthday we swam in the Colorado River. It was splendid. I have a different relationship to water since being on this trip.
The first morning at Goblin I set out to explore the hills surrounding the valley. I scampered up one slope but found the soil to be very soft and each step slid down a foot or so, creating a small cascade of dirt and rock shards. At the top of the little peak I surveyed the landscape, odd bulbous rock formations created by erosion, framing a dry flat basin in the middle of which snaked an arroyo. I realized quickly that I was more likely to get myself buried in a landslide than I was to successfully skirt the top of the ridge or climb any higher. So I descended and dropped down into the dry arroyo. I followed the dry river bed south for 4 miles or so. The walls of the arroyo were at times more than twenty feet high and arching into a giant dome-like structure. Some of those walls were brown, striated with white harder rock forming a spider-web of light lines across the surface. The soil underfoot was for the most part firm, though here and there a soft patch surprised me, and my foot sunk into the wet. Farther south a few inches of water appeared, and I dunked my hat a few times to cool off. The sand was spotted with crystalizing salt here and there, and the mud in places was cracked and rolled up in sheets, making a satisfying crunch when stepped on.
After this run, the day turned windy as the heat picked up and the site became pretty unlivable. I hid in the cargo van where I could at least read a bit without my eyes filling with sand. Inside our tents were blankets of the finest brown that had sifted through the mesh and spread over all of our possessions. Seeing as this blowing sand was a not conducive to work, we left the site a day early and headed on to the Spiral Jetty on the Great Salt Lake, Utah.