What to do now and next

Hi! Sorry for not being around for a long while. I don't have any good excuse of how/why it happened like this other than to just note that I really really needed a break from this blog.

I have been blogging on and off (but mostly on) for over a decade now and (if you've never tried to before) it can be quite a lot of work getting in the habit, staying in the habit, and delivering fresh content. This is especially true for content specific or niche blogging (which is what I do here). After I finished my masters degree (about October/November time) I found that I really and truly needed a mental break from writing papers and doing research and trying to get back on the metaphorical horse after doing such an amazing amount of blogging last year was only harder because of the break that I needed. So? I took the break and that's why it's been so radio silent here.

So I'm back here today to post this but honestly? I don't know when I will be back again and I am still trying to pray about what to keep doing beyond me just feeling like I need to be still and focus on other things (than this blog). I find that by not blogging here, I am much more connected and present with my 5.5 year old daughter and husband and students. I am thinking a lot less about how to churn the life and art teaching on my everyday into blog content and more about just being fully present and focused. This year for the One Little Word campaign I decided on the word "treasure" and I think it's going to work much better than last year's word of "joy" because it's been a focus of mine most recently in what I do, how I do things, and how I regard things before me. I've become so much more aware of the need for me to have less of a life virtually and more of a life actually.

I have loved this blog so much but I really and truly feel like I will probably not return to the posting schedule I had last year because it made it really difficult for me to have the time and energy I now know I want to have for my family and my students and to serve my school community. Blogging so much also makes it difficult for me to create artwork for my own professional development. I haven't painted in months and having realized this I decided that I needed to change that by trying to do something of my own art creation because I was starting to feel stagnant.

I have never kept up with a sketchbook OR done watercolor painting in all of my life but I recently started to do both in an effort to get beyond my own prejudices and learn something new that I had previously been so staunchly against. I got a visual sketchbook for both myself and my daughter and we have been trying to do a page a night in our books with either ink and watercolor or just plain watercolor. We both have less than a half dozen finished pages but it's been amazing so far and I am amazed that I was ever so against daily art creation (like in a sketchbook or visual journaling) OR watercolor. I have been "doing it wrong" the whole time. Thankfully, I have seen the light.

A page I finished last evening in my journal after everyone in the house was sound asleep.

I know I don't want to abandon this blog but I also know that how I have done it in the past is not a way that I can keep doing it in the present or in the future. I have a lot of content on here and I am regularly getting unique hits because of people finding things I have archived in the way of art lesson project ideas. (I'm so glad that what I have shared continues to be so useful to others!) Still, well... maybe it's time for me to deliver less that ends up being much more because it has greater substance at least as it applies to what I originally create - either in my painted sketchbook or with my own explorations of the creative process, creative callings, or what I am learning about the art of teaching art.

In any case, I hope you all are doing well in your classrooms and with your own artwork. I have previously "preached" the importance of being an artist as being actively creating art pushing yourself to do better design and stretching your creativity. I think perhaps it's time for me to do that sort of thing rather than giving myself endlessly to the efforts of others, the development and understandings of their creative processes, and enabling them to create beautiful works of art. That's what I do every day and when I leave work, I need to do a better job of allowing myself the same sort of gift.

So, I'm not quitting this blog or even taking it offline in any way. It'll keep being here. I just might be here less often but perhaps at the same time with a more worthwhile presence.

Lesson Idea: All Creatures Great and Small | 2D Design

This work was done almost three semesters ago by the 2D art and design students and I never got around to sharing it with you all! While it didn't pan out entirely as I had planned it would, I feel like the final works are still interesting and provided a great in depth study of lots of the principles of design and elements of art. I called this project endeavor "All Creatures Great and Small" since the subject matter was animals.

The inspiration of this project endeavor came from Heather Galler's Art on etsy. Clearly the students saw what Ms. Galler did and took a whole lot of creative liberties but I didn't have the heart to tell them not to be quite so ambitious and adventurous.

The students worked on poster board support and then used solvent based pens and markers to draw and color each of their works. I stressed the importance of using the positioning and arrangements of the patterns in order to show correct form as much as possible.

Too Good to Keep to Myself :: Prang Ticonderoga Product Review

Disclosure: Compensation was provided Dixon Ticonderoga company. 

Opinions expressed herein are those of the author and are not indicative 

of the opinions or positions of Dixon Ticonderoga.

Dixon Ticonderoga sent me the Prang Marker set alongside a competing set by Crayola.

One thing I noticed almost immediately was the fact that the Prang set included (2) more colors beyond what could be a standard 10-color set in addition to the fact that the Prang set had both French and Spanish translations on their packaging. Crayola's only notes that they are preferred by teachers which I cannot lie that I know quite a few art teachers (me included) who swear by Crayola brand anything.

Mini Masterpiece prepping with Artist Trading Cards :: Interactive Art History

This is my third year of doing the ever popular Mini Masterpiece project with the Art History students and this year I decided to add something into the creative process of it by having the students do some trial runs with artist trading cards (ATC). Do you do ATC at all with your students?

In all honesty, I have wanted to get in on the ATC "game" for quite a while and I even have quite an inventory to do it - I ordered different supports in ATC size at the beginning of the year - but I haven't been able to get it and keep it going. I blame the ridiculous schedule I keep at any given time with working full-time, graduate studies (also full-time), married and family life, and everything else in between.

(Next year, my goal is to definitely get ATC creation and exchanges going here within the school's art community and then eventually have it connect with another school/art community. I think it would be a great for a student leader to spearhead and so it's on my goal list to make happen in that way. Anyway...)

I have all of these ATC but I haven't used them this year so far. Last week there was a major school-wide field trip that happened though with the Science department and I was left with only half of my students in almost every class! It was the perfect time to break out some ATC for the students to do some creative processing and exploration. I found it especially useful with the interactive art history students since they are prepping for doing the Mini Masterpiece project and the ATC are just the right size to get them to start thinking about scale in order for them to do more successful works of art when they get their final materials.

I put my hand in this shot so you can get a better understanding of how small they are! 

The students used the Portfolio brand Oil Pastels that we are such a huge fan of and they all turned out some pretty amazing ATC that many of them took with them in order to be able to give to their friends and/or hang in their lockers.

I have never done ATC before but I feel like it really worked as a nice stepping stones for art history students to feel a little more prepared and confident for when it comes time for them to put paint to canvas.

Co-Teaching Art Education with Youtube :: How to Paint Realistic Trees

One of my favorite things to do with my projector set-up is to use it to present e-book pages, student work, masterworks, etc. on the white board instead of the projector screen. Why? Because then I can write and draw things on top of and/or around the image in order to better tell and show the students different things that they need to remember for their work. This teaching methodology works just as well for Youtube videos, too!

You can see some of the labels I drew in order to help the students focus on key points for their tree paintings.

In addition to the labeling, I also wrote a bulleted list (not pictured) for the students that included items like, "Don't forget that the silhouette of a tree's foliage is ORGANIC in shape - not perfectly round and lollipop-like." I also made a connection with their prior knowledge from Science studies and said that the shapes of their tree foliage should be almost amoeba shaped and the trunks with their extending branches should be almost arteries with their vein systems. I LOVE drawing connections from visual art studies to core content areas!!!

Here is the Youtube selection I used for the "co-teacher" this time...

And here are the before and after works of the students' trees! This time I had them each quickly draw what they thought trees looked like and, as expected, there was lots of "lollipop" stylings initially. Luckily, they learned a lot and quickly too about how to go about doing a more realistic and painterly visual depiction of a tree! The improvement from most all of their befores to their afters is astounding in some cases and even the most advanced students learned how to improve their technique!

In this example, the before is very broccoli like with the trunk being stalk like and everything! 

This student took it upon themselves to attempt a second tree (in the after) and was able to achieve great results  too.

What an improvement from before to after, eh? I think this one was very successful with the value and color work too.

Actually a very advanced student's work but even the before is very broccoli like. 

Much improved since the after doesn't have the exposed roots - though I get what they were going for.

I feel like some of the hardest (but most requested by them) techniques to teach are things like drawing/painting clouds and trees. Both are very similar in how you do them - and the students are slowly making that connection - but this repetitive exercise between what I shared yesterday and then today really help them to see that what looks so hard actually isn't that hard. Also, they are learning to see simpler shapes and masses within larger and more familiar forms (like trees and clouds) in order to better create them in their individual works.

The next step I took them to after this one with the trees (and yesterday's with the clouds) is to have them create a realistic sky with clouds. So, basically I am taking yesterday's work and having them apply it to today's so that they have a finished work of art. I am also going to encourage them to look up other tutorials like ones for waves or mountains in order for them to better understand how to combine different techniques to achieve a more realistic and refined landscape piece for the place of grace project that they are about to launch into.

One of the biggest woes that I heard the last time I did place of grace last semester was students who had issues doing the simple things like clouds and things. After doing these brief exercises with Youtube the way I have, I predict that the students will turn out even stronger work than last semester just because they will be more confident and will have a decent amount more working understanding and real experience to apply to their individual works.

And one last reason why teaching using Youtube as your co-teacher? If you have students who are out of class for any number of reasons, you can simply direct them to your collective of linked videos and they don't have to be totally behind because they missed in-class demos!

The ROYGBIV Project :: Put a fork in it! :: Pt. 5 of 5

Without further adieu... I present to you The ROYGBIV project in all of it's finished glory!!!!

The installation makes the gallery hallway such a happy place!

Once the students got to the point where they were able to start installing their individual sections of the total installation and they got to see it all come together they were really motivated to get the whole project DONE and it took only a matter of a few days for them to all really pitch in and get things hung up and adjusted no matter what subdivisions they originally volunteered themselves for.

One element that was a final "finishing touch" was hanging painted (with tempera) sheets of acetate sheeting on alternating window panels all the way down the hallway. The hope was that the natural light could shine through the painted sheeting and then cast colored light into the hallway. It didn't work but it did look pretty interesting from the outside and it has served as great encouragement for people to see it across the "quad" and then come walk through the gallery hallway when they otherwise didn't have a reason to venture that way in the first place.

Next  year when we do a different ROYGBIV installation I will allot money in the budget for colorful cellophane.

The sun group had some serious challenges with trying to rig up something that would support the overall structure, girth, and unexpected weight of the finished work. Fishing line did not work after trying it multiple times so the winning solution was to use 14 gauge aluminum sculpture wire that supported the sun from three different points. It doesn't look like a literal interpretation of what the sun looks like but I think it works being abstract the way it is.

The sun is suspended at one end of the hallway where it can hang the highest from the ground.

Obviously a good number of the rainbow drops didn't hold their shape perfectly but I think it's OK. The student artists who worked on them weren't totally disappointed and I was really proud with the way they pushed through to the end even when it was very VERY challenging and discouraging at times. Their perseverance is so commendable and they really pulled things together in the end.

And the clouds group? Well, they had a bit of an unexpected advantage from the get-go because they didn't have to figure things out since they followed some directions found online. *shrug* They did have one of the messiest portions of the whole installation though so they had their fair share of challenge at times. Their original plan was to shade the clouds a little to make them look "stormy" but in the end that wasn't necessary and they simply used some of the natural darkness that was cast from the inside out that derived from the newspaper that they used for the center form of the sculpturing!

For a second try at studying installation art with the 3D Design class, I would say this attempt was successful. So many people - students and faculty/staff alike - have commented really positively on the entire installation and part way through the hanging of everything I already had inspiration come upon me for what will be done for next year's endeavor! If you can believe it it will be much of what you see here PLUS a little bit of some extra that is pure fun and lightheartedness. Hard to believe it can be bigger than this? I guess you'll have to hold me to that and visit me next year to see what it will be all about.

Thanks so much for sticking with me for this week long series! Next week is Spring Break for my school but I will be queuing up some postings that have been waiting around for their chance to be shared in addition to working on graduate school assignments and also (FINALLY!!!) doing some painting at the easel at my home studio.

Have a great weekend! See you next week!

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This installation art study was student-centered and collaboratively designed and constructed (across two classes). It utilized paper sculpting and papier mache, string wrapping, spray painting and brush painting, fiber application in order to create a sun, clouds, and rainbow display suspended from the ceiling of the student art gallery hallway. It was originally presented in a week long series that showed the planning and creative processing, the beginning part of the sculpting/working stage, the point just about when everything was done being sculpted, and then some notes about when things went awry and how those things were dealt with. The final view of it can be found HERE. This project was meant to be a re-imagining of The Ombre Experience project idea.

The ROYGBIV Project :: Making it happen :: Pt. 2 of 5

This stage was the absolute messiest of all of the stages but it also was the one that the students really enjoyed because it allowed them to really explore and experiment with the creative process and truly give life to the ideas that they were tasked with. Here is a little of what each of the groups were attempting to work with...

Sun group

Idea was pretty close to THIS idea that I had originally shown them

• Wanted to paper mache in order to sculpt a single extra-large spherical structure
• Needed an exercise/yoga ball for their form
• Wanted to pull in some texture by adhering muffin/cupcake paper cups to the outside of the structure after it was completely sculpted
• Wanted to use lighting in order to illuminate the structure from the inside out

Clouds group

Idea derived from THIS I found and showed them during the lesson intro

•  Required them to do paper mache to sculpt multiple different but similar structures
• Needed lots of balloons for the form of each structure
• Required cotton batting/stuffing for the texture of the clouds
• Wanted to do at least seven clouds in order to fill out the gallery hallway space

Rainbow group

Idea was inspired by THIS that I found and showed them during the lesson intro

• Required them to use watered down glue mixture to soak string so that it could adhere to individual forms
• Needed lots of balloons for what would be over 100 individual forms suspended from the ceiling
• Required paint in Red, Orange, Yellow, Green, Blue, and Violet

We spent at least a week and a half total of class time doing just the fabrication/sculpting of all of the different elements of the total installation. It was definitely messy and that's not something that all of the students were keen on but with lots of encouragement and redirection from me that this was a GROUP effort and we needed to be unified in order for it to really be successful, it became a rare thing for any of them to sit and be idle for too long. Most all of the students wanted to play an active role because they fully understood that the effort we had to put forth was major and collective. They truly started understanding that if one person didn't invest themselves, the whole of the project would ultimately suffer.

Two groups needed newspaper for papier mache so they banded together to create triangles - because that's the best shape for seamless and smooth coverage - in order to prep the paper.

The sun group gets started on the first of many layers!

The clouds group also got to work but they had an easier time than the sun because there were multiple cloud clusters to work on.

The rainbow group had perhaps the most challenging of all of the elements of the installation to work on both because of the sheer number of items that needed to be sculpted - they were shooting for about 100 total to fill the space we have - and because working with string coated in glue mixture? Well... it's just way messier than papier mache. Surprising that anything could be that way compared to papier mache but it was true! Also, wrapping and layering the string had to be done a little more strategically (read: it was less forgiving than papier mache) so there was a bit of a learning curve for everyone in the sun group.

The sun group discovered it required at least two people to coat the string and then wrap a balloon with the glue coated string. They tried to have at least two stations of this going at once.

One of the balloons that they did as a "prototype" to figure out if it would work, how long it would take to dry, etc.

One of the major challenges from this stage (as with almost every project endeavor I do) is dealing with how to store things when they are in the WiP (work-in-progress) phase. I share the studio art classroom with a part-time faculty member and while it might sometimes seem like I have a pretty cushy set-up (based on what I share on the blog) the room I share with the other teacher is about 2/3 the size of what I know most art classrooms are that are not shared. This always creates problems when it comes to storing supplies or student works on top of the fact that I know my colleague is not usually thrilled with some of my zany endeavors. (They are much more neat and tidy than I am.)

For this project I solved some of the project by storing some of the bags of balloons behind this huge canvas that another student has been trying to work on when they can...

Far from ideal but making the best of what I have is all I can do

Tomorrow I will show you the next phase of the project when we were getting to the stage of finishing up the sculpting and fabrication of the different elements and starting to install it all in the student gallery hallway.

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This installation art study was student-centered and collaboratively designed and constructed (across two classes). It utilized paper sculpting and papier mache, string wrapping, spray painting and brush painting, fiber application in order to create a sun, clouds, and rainbow display suspended from the ceiling of the student art gallery hallway. It was originally presented in a week long series that showed the planning and creative processing, the beginning part of the sculpting/working stage, the point just about when everything was done being sculpted, and then some notes about when things went awry and how those things were dealt with. The final view of it can be found HERE. This project was meant to be a re-imagining of The Ombre Experience project idea.

The ROYGBIV Project :: Kicking it off :: Pt. 1 of 5

 Last year one of the big winners of all of project endeavors was The Ombre Exprience that sought to allow my student artists to study installation art. It was a lot of work but it was very well received not only by the blog audience I serve but also the school community as well! People couldn't say enough about it and the success inspired me to make an installation art study a regular thing that I would do at least every Spring with the 3D Design class. The big challenge for me would be to do something that was just enough of the same thing to start a tradition but just different enough that it would offer something unexpected as well.

This year I think I really managed to do what I set out to do by focusing on the idea of hanging a rainbow of some sort in the student gallery hallway but rather than me coming up with all of the ways it would be done, I decided to make the project completely student centered and have them come up with how it would all play itself out. The only stipulation I made was that (unlike last year) there had to be representations not only of a rainbow but also the clouds and a sun.

In order to help them be inspired and have ideas start to take root, I showed them examples of installation art and otherwise "outside the box" art via youtube...

And then I conducted class discussions and friendly debate about what was most important in order to accomplish what we were setting out to accomplish and then each of the students spent a day or so coming up with individual proposals about what we could possibly do - either for the whole she-bang or for specific elements like focusing on the sun and clouds. Students were not allowed to put their names on their proposals - that were drawings with brief narrations and explanations - and I presented them using a document camera and projector to the two different classes that were doing this jointly for everyone to vote anonymously with post-it notes that I simply collected and adhered directly to the paper proposals. The ideas with the most ideas automatically became the actual inspiration of what we would end up doing with the three elements of the total installation.

Once voting was done, I presented the final selections to the two classes and then I had them sign-up for the three different ideas/inspirations offering them both the pros and cons presented by each idea. I challenged them to not pick portions of the project where they would be working alongside their friends and I also told them to not let the difficulty that might be presented to dissuade them from working on the element of the project that they really wanted. They all did a great job at divvying themselves up and I was very pleased with not having to make that decision for them. I wanted there to be some real ownership of the creative decisions and actions they were making and taking and doing things this way established it from the get-go.

Good ol' fashioned sign-up sheets! Nothing beats doing it like this.

After the subdivisions of teams were established in BOTH classes that met during two totally different times of the day, I took each class to the school's computer lab for them to do research about materials and supplies that would help facilitate the ideas established with the class voting process. I invested a total of about $75 for the project of my own money and gave each subdivision (rainbow, sun, clouds) $25 to stretch as they needed. I had things like paper mache powder and newspapers and some raw materials already in the art room inventory but felt that a $25 cap was reasonable for them to be both challenged to use wisely and also get what was needed in order to bring life to the idea overall. Each class had about one class period in the computer lab and then they collaborated and coordinated their ideas for a "shopping list" for me at the local Wal-mart for me to get what was needed.

Another part of the process was letting them have some time in the actual space were the installation would be hung. Basically, they got to have a site visit so they could take real measurements and have a better visual understanding of taking the idea of paper and placing it in a physical space. It was helpful for them and "mini field trips" are always a welcome change from staying in the studio classroom.

The planning stage was capped off with me having full confidence in them because they provided me with pretty comprehensive plans WITH supplies lists that also included pricing information in order for me to ensure that I wouldn't end up spending more than I told them I was willing to. I told them to think of me as being a client of theirs who had a zany idea that I wanted to make happen but no manpower or know-how to be able to do it. They were really able to imagine this scenario and treat with some real-world type interaction and appropriate reaction for what needed to be done.

 

Tomorrow I will show you what happened when we actually got our hands on the materials and start bring life to the ideas that they came up with and were working towards.

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This installation art study was student-centered and collaboratively designed and constructed (across two classes). It utilized paper sculpting and papier mache, string wrapping, spray painting and brush painting, fiber application in order to create a sun, clouds, and rainbow display suspended from the ceiling of the student art gallery hallway. It was originally presented in a week long series that showed the planning and creative processing, the beginning part of the sculpting/working stage, the point just about when everything was done being sculpted, and then some notes about when things went awry and how those things were dealt with. The final view of it can be found HERE. This project was meant to be a re-imagining of The Ombre Experience project idea.

Project ROYGBIV :: Studying Installation Art :: 3D Design

By far and away one of the most successful lesson ideas/project endeavors that I have done from the start of my art education career was one that is affectionately known as "The Ombre Experience." Perhaps you know about it because it is the thing that brought you here to this blogsite in the first place. Per my blogstats and that tally over there to the right ------------------------------------------------->
The Ombre Experience lesson idea is the most popular and frequently looked at by way of google searches and Pinterest. The lesson idea coupled with the ROYGBIV day 500+ balloon release event is hard to forget and just as hard to top. Or... is it?

 I can't let go of what we had last year with The Ombre Experience. It was so awesome and fun and encouraged such a beautiful type of connection and interaction - it's no wonder that it's been one of the most popular things I have shared on this blog. And because of that the two sections of 3D Design of this Spring 2013 semester are going to attempt to do it again and even bigger than that.

What are they going to do and HOW are they going to do it? Well... honestly, I don't really know. Why? Because I am leaving it largely in their very capable hands and in their very imaginative and visionary minds. As it works, they already know what we have done before and they liked it much like you kind blogsite readers and supporters but in order for us to do it all up this year? They are very much being encouraged to go beyond the beyonds of what last year was in order for us to do something that is just as unforgettable as last year and just as hard to top for next year. (Because I feel like this is a worth while endeavor for us to do every year and have it be a bit of a traditional thing!)

Now before I look like some completely crazy teacher who has lost her marbles completely and is letting her student artists just plain go CRAZY, let me present what I am doing in a different way: I am acting as a bit of a captain for a big giant ship (think of it even as a space shuttle if you'd like!) and my job is definitely to steer the ship to where it needs to go - that being to get to an end point and have everyone arrive safely and soundly - but for the most part? The journey could include any number of things and it's my job to ensure those things provide a memorable trip as much as possible.

So far this week (and a little bit of last week) my adventure with the classes has been pretty successful and even organized despite how loosely I might have already suggested they are.

Last week our focus was on getting ideas brainstormed and down on paper and in order for me to be able to present them to everyone for voting/selection purposes and then this week we voted on them all, divvied off into self-selected groups (meaning the students got to go where they wanted to go)...

We did self-selecting of groups the good ol' fashioned way with sign-up sheets!

... and then working together within those groups so that we had a solid enough idea for each area of the sun, clouds, AND rainbow in order to actual start giving them real physical form starting this week. Each group tossed around ideas about how they were going to accomplish their area of the installation and then at the end of last week they each gave me a heavily debated (my input included) shopping list so that they would actually have materials to work with and be done with this project within the next three weeks.

The shopping lists I have been requested to help fill! Not bad actually. 

This project is coming out to be one that is almost completely student-centered and I have had very little input in what goes on other than when a group/students are obviously off-course with what they are seeking to do and I simply redirect them to refocus themselves by reiterating any of the following:

• We are on a time crunch
• The success of the group's effort is hugely dependent upon each person's individual effort
• This is a very unique opportunity and HONOR that they get to be a part of and be able to remember back on for the rest of their lives (this is almost the most motivating reminder of all of them if you can believe it!)

While most teachers might be a little iffy about this idea of how and what I am doing, I have done some seriously extensive research about this age-group/generation of students (the Millenials) to know that what I have been able to orchestrate for their working situation is the most ideal and will produce the largest return on my investment (as a teacher) of my time and general instruction. 

I will, of course, keep you abreast of how and what is going on with this all but if you don't like to wait, you are always encouraged to get sneak peeks of things by way of my instagram stream - DreamPrayCreate is my username. Don't be afraid to connect with me that way and offer feedback of either questions OR critiques of how/what I am doing as an art educator.

This is what two weeks of painting looks like

Two weeks ago the canvas looked like this...

Underpainting

And then it went to this...

 

And I have revisited it so it currently it looks like this...

 

I am guessing that I have at least another week but more than likely two more weeks ahead of me to actual finish this painting. It's been a tremendous amount of work and very challenging but I have learned just as much too and I am in no major rush to complete this. I just want to be able to paint this well and CORRECTLY. I want the colors to be right, the marks to have integrity, the lines to have obvious speed, and I am not willing to skimp on anything that will diminish how it speaks to glorify creation and the creative process.

There is so much JOY in this journey

It has been almost three months since I entered full-throttle into this new chapter of my life that requires me to devote myself more whole-heartedly to more personal art and creative endeavors. (Right now it's just fine art oil painting but it will also include sculpting and creating artisan jewelry). Though it's been incredibly challenging, I can't say I am doing anything less than feeling like I am living a dream of some kind.

I have always ALWAYS wanted to be a painter and more than any other kind of artist in the world. And I have always ALWAYS felt like I couldn't be that because what I was painting was merely rendering things and wasn't ever truly creating anything worth the paint and time I was using up in order to paint in the fist place. And while it's debatable that I am any good at all, well... I am not very hung up on that. This is because for the first time in my life I feel much more like a legitimate painter (and in turn serious visual artist) than I ever have before. I feel like I actually have a specific direction for the artwork that I am seeking to create and I am not just making the same thing over and over again or swiping other peoples' work by simply remaking what they very uniquely created to begin with leaving me with only a poor imitation of their truly phenomenal work.

I mean... like I said before - I am not trying to say that I am some acclaimed artist or anything worth my salts (or rather my paints) but I finally don't feel so hung up on the whole business of whether I am good or not. And even if someone thinks I am not good? Eh... I am not hung up on that either because I feel like by painting and sharing it, I am doing what I have been called to do which is really what is validating me more than any priceless masterpiece I might ever create or not.

The beginnings (in sequential order) of a piece I am currently working on.

 I have been painting since early 2000s but I always knew I was never quite that good while I was doing it. People would see what I did and they would appreciate it but I always knew that they agreed with me that what I was doing wasn't all that noteworthy. Looking back I can evaluate what I was doing and say outright that my work lacked confidence and direction and also what I was painting? It was obviously indicative of the fact that I was trying to paint for the sake of painting and I wasn't saying much with what I was painting but I also didn't know what to say. I was just sort of painting for the purpose of hoping that I would turn out something decent and worthy of praise at some point but I had no idea how I could be a little more intentional.

None of the aforementioned applied anymore though. Why? Because I have made a more concerted effort to do something more than be simply self-taught and an enthusiast of the art of (and from) the act of painting. Now, don't take this like me bashing self-taught artists. That's not what this is at all. I mean, for as much as I struggled during my self-taught years but still continued to paint despite it, well... being self-taught (and thus a little bit unknowing about the importance of being something more than simply self-taught) helped me to explore a territory and offered me plenty of mistakes to experience so I would be able to understand the importance of more formal training - that which I now have at this point in my life!

Some more sequential images via my instagram feed. It's a work in progress but I feel like it's working out enough to show progress better than most any kind of artwork I have ever done before!!!

Definitely, I learned plenty during my time of being self-taught painter but I have to say that what I learned in that time can be summed up mostly by saying this: I definitely didn't know very much or at least what I knew didn't help me to do and (visually) say what I really wanted to. I mean, I still have plenty to learn about and to prove that I know a thing or two about (as evidenced by the most recent image of the state of my painting as seen below) but I can't help but feel like I have already come so far even though I know I still have many miles to go.

Added lighter values and warm colors back in after darkening almost the entire canvas in an effort to correct value issues.

I might never sell a painting in my life and I might never make it into a gallery of any kind. But you know what? That's not my point in being a painter and a visual artist anyway. I am doing what I am doing because I feel truly called to do it and with every mark of my brush, with every canvas that I "dirty" with paint, I feel like I am answering that calling and that gives me greater joy than anything I might ever have for all of the rest of my years on earth.

Lesson idea: Extra-dimensional | 3D Design OpArt study

It's been quite a while since I shared a lesson idea and/or a video with you all so you all are in for some real treats today!! ;)

This lesson idea is a spin on something I have been doing with the 2D Design classes (OpArt studies) that pairs with things I have seen on Pinterest as well as it being something that has made the rounds on the art education blog circuit. It takes the geometric 3D form (the cube) and  expands on the idea of dimension by applying Op-art patterns and designs on the different faces of the cube so that the finished piece looks incredibly dimensional. You can see some of the works-in-progress of this project HERE and also HERE.

This project was incredibly labor intensive for all of the student artists because OpArt needs to be so carefully thought through and then even more carefully created and colored. Whenever I do OpArt projects it always takes me a lot time to evaluate the work because looking at it makes my head spin and I have to take a whole lot of breaks. I told the students this and they thought I was being dramatic but when they started working on their pieces? Well... they totally understood. Ultimately, the project ended up taking almost a solid month for us to complete (including a bunch of random days when our class time got shorted for one reason or another). Just the same, I was fine with it. I'm doing my best to just go with the flow these days.

While I could show you only still photos of the finished pieces of student work, I don't feel like still photos will do the presentation of this lesson idea the justice it deserves. As a collective and the way it is being displayed is quite something to see in real life and the closest way I can come up with to show it to you would be to do a video. And so? Here it is! The school's senior visual art prefect joined me for this one and in the video I will be sharing with you some of the inspiration behind the overall collective of work. It's quite thought provoking in the way it all came together and it might be my most favorite exhibit we have done so far. Go figure - it's pretty much another exhibit of installation art!! (It just happened like that.)



Just in case it was hard to see the student work, here are two stills I also took in the midst of taking the video...

And because outtakes are always fun and it IS Monday, here is a quick outtake that otherwise would have ended up on the "cutting room" floor because I am so bad at using my video camera on my phone. *shrug* ENJOY!!! (at my expense)

We are HERE.

Both the 2D & 3D Design classes have been working on long-term projects that took almost twice the time I normally schedule for a project (about 2-3) weeks. I already shared the painting project called "a place of Grace" with you and I will be showing you the Op-Art project that 3D did called "Extra dimensional" once I get the work hung/installed in the student gallery.

In the meanwhile, 2D & 3D Design have both been working on new unit projects!

For 2D, they are working on combining what they have learned from color theory to create and assemble interesting pattern combinations that will eventually be used in a poster picture of an animal in order to show how the design principle of variety works. Each them is allowed to pick out whatever animal(s) that will be focused on for their final piece but their biggest challenge is trying to select, draw, color, and then pull together as many patterns with as much diversity as possible.

So far they are being both challenged and a little bit frustrated because they love working with all of the patterns but they are dealing with either indecision within themselves OR annoyance because they are realizing that maybe they don't have as many patterns as would lend themselves to a completed project of this type. (One of the major standards of the project is that ever space of the whole 11x14 surface needs to be covered in pattern and color!)

 The 3D class is loving their new unit of sculpting in the round. (Well, for the most part. You won't be able to walk underneath of the sculptures so it's not totally in the round, I guess.) They are working with clay in this unit and doing the ever popular clay cartoon bust project! Each of them gets to pick their own subject matter (so long as it isn't offensive either obviously or questionable) and then they take it from 2D plans and drafts to 3D form in clay and eventually they will detail and articulate it with acrylic paint. We are using air-dry Boneware clay and something new that I am both permitting and maybe even requiring this year - they have to make wire armatures to help ensure that their finished pieces will be that much more structurally sound.

I'm honestly kind of excited about the armatures since it draws in wire sculpting (that I would have ended up running out of time for) and also shows them a little more about the whole business of the art of gestural sculpting. As 3D is getting started they are required to get pictures of their sculpture ideas and then draw/sketch AT LEAST a front view and then side view of each idea.

Both of these projects might easily carry us through to the very end of the semester and that makes me kind of sad because I never like saying goodbye to a semester with any of my student artists but I'm also realizing that doing the kind of work I have been/can now do with all of the classes only means that they have come so far and learned so much! That's never a bad thing, right?

Lesson Idea: A place of Grace | Landscape painting with Water-miscible oils

So... it's been at least a month and if not more than that since I blogged a lesson idea. It has happened like this not because I have been sitting around twiddling my thumbs but much more because I have been doing this lesson for that long and on Friday was the final day of it!!

I have already blogged about the WiPs stage of doing this landscape painting project with my 2D Design class HERE when I shared about the creative processing related to establishing strong and successful visual composition and then HERE when I showed the students applying color (for underpainting purposes) to their sketched (on canvas panel) pieces. This project was intended to be a very long-term type endeavor both because I wanted the students to do well in painting their selected places of grace landscape paintings as much as I wanted the painting process itself to be a place of grace in the midst of their busy school days. I am happy to report that on both accounts there was major success!!! 

By encouraging and supporting their learning processes of painting techniques and manipulating/working with water-mixable oil paints, they ended up learning not only about how to create some incredible examples of great visual composition not just in the structure of the overall elements of the pieces but also by using color relationships and intentional value work to push and pull the painting in the directions that it needed to go. The students worked from photo reference and they were required to go through a number of stages before they got to the point where they were laying paint to canvas panel. 

If you can believe it, the majority of the student work that I will be showing you was done by students who have never painted in this style/type of painting before. I did a lot of 1:1 consulting with each of them every day to ensure that they would move along swiftly as much as confidently and this project endeavors has turned out the greatest amount of successfully created student artwork examples ever for me!!! I am so incredibly proud of these kids. The below is just a small sampling of what I could have shared with you but I will be doing at least one more round of sharing more examples tomorrow so come back and see me then! 

Each piece was painted on a Blick-brand canvas panel that is 11x14 inches and the brand of paint we used was Reeves class pack of water-mixable oil paints. Also, I went through three entire large tubes of Titanium White (purchased separately) that I distributed/rationed carefully to make sure nobody took more than they needed but everyone got exactly what they wanted.

I just LOVED doing this project and I cannot stress how proud I am of my student artists for turnig out the incredible work they did. Many of them discovered what their personal artistic voices look like and a select few will be embarking on developing what they have discovered and refining it in their own (and mine as well) time. (More about this on another day.)

Anyway, like I said, tomorrow I will share another handful of student samples of this project. Hope you enjoyed the above so far!!

Painting = Finished. Everything else = just getting started.

I am still working on a name for it or even the series/collective that it will belong to but for now I am going to go ahead and call it "The Seven hour painting" because that is actually how long it took me to paint. While the pictures help you to get a sense of it in its finished state, it's truly amazing in person. 

The inspiration was actually an instagram photo I took some weeks ago. I talked about it in my last posting.

That's right. You heard me. That's a 40x40 canvas done with Gamblin brand oil paints, some liquin and some natural turpenoid, and it took me only seven hours. SEVEN HOURS. I seriously cannot believe it only took me seven hours from start to finish. Unbelievable.

I am as astounded by this fact as much as you might be. (Perhaps I am easily impressed? Or maybe I don't know anything about oil painting and large scale painting and this is completely normal.)

Whatever the case, I think it asserts and affirms the fact that giving my professional photography endeavors the "pink slip" from occupying the part of my life it   has was a very good thing. Or, as I like to think of it, very much a GOD thing. I have never ever been able to paint like this. NEVER. I mean, really? But that's kind of the point. I don't believe I did this.

I firmly believe that it was and is the power of Christ working through me to lay out the colors and values on the canvas the way you see it. I mean seriously? I have "dabbled in painting for probably five years or so but I only just learned how to oil paint this past summer in the five week intensive course I had to take at the local community college in order to satisfy some studio art credits for my Masters of Arts in Teaching program. As far as I would tell you (even now after completing this piece) I am a beginner at this whole business of oil painting.

I am still working on figuring out what the Lord wants me to do with my time and talents but I firmly believe that all of this with this painting is something that is very much a part of what He wants for me and from me. Is this the start of me trying to establish myself as a professional working oil painter? I don't know. I really don't know. I am not that concerned with such a thing either. All I know is that the Lord is truly providing me with the thing that makes me happier than anything in the world. And that is to be able to PAINT and CREATE beautiful things as inspired by Him and His creations.

My little girl is more and more inspired and encouraged to work alongside me on her own easel, see? I love the fact that she is learning to associate the delicious smells of oil paints and the colorful marks on a page with HOME. 

While I have not shared the "gory" details of my personal life from the past year or so, I will tell you that I feel like I have been in some serious rebuilding mode. It's been scary and maddening at times and I will tell you that there have been at least a dozen times when I have wanted to look at God and the trials and paces I know He has put in front of me to be tested by (and to choose Him in spite of) and say, "You know what, God? How about NO."

I haven't done that though. I haven't said no to Him. Rather, I have sought shelter in Him and asked for Him to tell me and show me what He wants from me and then comfort me when I have admitted to Him that it's too much for me to do alone.

As things are right now? I feel like I am in the midst of the part of the gospel that is the re-creation of it all. (The gospel starts out with the Creation and then the Fall happens followed by the Redemption and the Crucifixion and Resurrection and then the Re-creation because of it all.) While I know my life can always veer off course back into the Fall again, I know that just like I have in the most recent months especially, Christ is and will be for me always so that I can be redeemed over and over and over again. Lamentations reminds me of then it's discussed repeatedly throughout His word.

If you'd have asked me a month ago if I would be here having these things - an abandoned professional photography career, a fully-functional and actively producing home art studio, and a FINISHED 40x40 oil painting despite the fact that I haven't painted in months - I would not believed you. But because I believe in a sovereign, abundantly loving and forgiving, and truly provident Lord God Almighty, I can tell you that I (indeed) am here and this all is very much happening.

Amen. Absolutely, positively, and as loudly as I can say it - AMEN.

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UPDATE:

I removed the the light post at the base of the painting because it was driving me crazy. 

I felt like it destroyed the aesthetics, composition/visual armature of the piece, etc. etc etc. 

Check out the below for what I mean...