Kintsugi – Creative Minds Art History Project

I’ve always loved Kintsugi pottery not just for its striking visual interest but also for the symbolism behind it. Kintsugi means “golden joinery”, and is a practice that started as early as the 15th century in Japan. With Kintsugi, artists fix broken pottery by using a special lacquer mixed with powdered metals to join the pieces back together. Influenced by the Japanese philosophies of wabi-sabi (seeing beauty in imperfection), mottainai (the regret of wasting), and mushin (the acceptance of change), Kintsugi pottery highlights flaws rather than hiding them, showing each piece’s unique history and turning brokenness into beauty. Our experiences, mistakes, scars, and the things that make us different are what build us into who we are, and beauty can be found in all of these things as we move forward.

I knew I wanted to incorporate learning about Kintsugi into my Artshop class, but the question was how? In this class, we typically do different small projects each week, so it would need to be something that could be completed in an hour and a half. Additionally, I have no background in pottery or sculpting (100% 2D artist over here!) and wanted to use supplies our studio already had on hand without depleting our clay class’s supply. A couple of months ago, a group of friends I do crafty girls nights with and I found an idea to make small, marbled ring dishes out of polymer clay on Pinterest. This craft got me thinking … why not make sculpey pottery?

It took some trial and error, but I ended up coming up with something that works using sculpey, a cool whip container and some 4″ diameter and 3-3.5″ diameter oven safe glass storage containers, hot glue, and broken teacups.

The first step was to roll out a sheet of clay to the desired size. Students mashed, twisted, and striped their different colors together and then rolled them out to about 1/2 cm thick. We happened to have acrylic polymer clay rollers, but a rolling pin would work just as well – Just make sure to put a piece of foil or parchment paper over the clay so it doesn’t actually make contact with the rolling pin if you ever want to use it for food again. Next, they cut out a circle by tracing around a template using an xacto knife. We used an empty cool whip container as a template for students who wanted a 4″ diameter bowl, and a 4″ glass container as a template for students who in the end wanted a smaller 3.5″ bowl.

IMG_20190528_150010Once everyone had their flat circle, we placed our chosen glass containers open side down and centered the circle of clay on the base of the container. We then gently guided the sides of the circle  down to form a bowl shape, being careful not to press the clay down too tight (This makes it easier to remove later!), and not to press hard enough to leave fingerprints.

After this, we made a selection of teacup fragments from our stash. We then laid them where we wanted on the surface of our clay bowl shape, and traced around the fragments with an xacto knife, cutting out an empty space into which we could glue the piece once the clay was baked. Some pieces were more curved than others, so this also influenced placement. The holes can be a bit bigger than the piece, because we can fill any gaps with hot glue – You just definitely don’t want the hole to be smaller.

Once the spaces were cut we baked the clay on the oven safe glass containers, still open side down, in the oven per the instructions on the sculpey package (275 degrees for 15 minutes). After letting the hardened clay cool, we were able to use hot glue to fill in our bowl with the teacup pieces. Once the glue has hardened and is painted with metallic gold acrylic, it looks just like the fusing used in traditional pottery!

These make for interesting decorative bowls or catch-alls, and though our process and materials were quite different, it was a fun way to reinforce the history lesson. My hope is that these tiny vessels will sit out somewhere as a reminder for people to love themselves, cracks and all, and remember that no one is ever broken beyond repair.

 

Advertisements

Monet – Creative Minds Art History Project

Since I’d been covering a lot of modern day artists lately with my Creative Minds class like Betsy Youngquist and Elizabeth Jameson, I wanted to start the new semester with another visit to the past with one of the founders of Impressionism, Claude Monet.

1-the_waterlily_pond_with_the_japanese_bridge

Though he used oil paints, we stuck to a mix of acrylic and oil pastel to avoid the mess and because these materials are easier for beginning artists. In order to … Well, I don’t want to say “force” but yes, force ;), the students to try painting in more of an impressionist style rather I had them use circular foam brushes to apply paint rather than the traditional bristled brushes. They were shown how to quickly pound up and down with the foam brush to create the texture of foliage, how to lay it on its side and drag it across the surface to create short or long streaks, and how to simply use it as a stamp to create circular shapes. However, the favorite technique was double or triple loading their brush with different bright and dark colors and experimenting with how easily they could create the impression of light and natural blending with a simple stroke of their foam brush. Students that struggle with fine motor skills ended up preferring the foam brushes to using a regular paint brush.We looked up photos of local natural areas to use as inspiration for our paintings, and students then moved forward to create an “impression” of what they saw and how it made them feel. Some used natural colors, others, like some of Monet’s own work, either exaggerated the boldness of the colors or used different colors entirely.

IMG_20190501_164253

Monet used a lot of bridges in his artwork, so many of the students chose scenes with bridges for their inspiration. We used oil pastels to draw the bridge over our scene at the end. Success!

 

This is another project that is great for all ages and abilities. Those with more advanced art skill can always add more detail, and working with creating the idea of a scene rather than trying to create an exact copy of an inspiration photo takes a lot of the pressure off and allows students to just enjoy playing with paint and experimenting with a new art style. Don’t be afraid to go try it for yourself! Happy creating :).

Betsy Youngquist – Creative Minds Art History Project

For my final Creative Minds class of this Artshop semester, I chose another current artist as the class inspiration that would also give us the opportunity to work with some summery materials (Based in MI, we are hoping it gets warmer someday!).

 

Betsy Youngquist is a surreal mosaic and sculpture artist who works with a lot of unique materials traditionally associated with crafting like beads and doll making supplies. On her website, she writes, “Children with their vast capacity for wonderment weave tales of gossamer, create magic kingdoms, and pass through invisible portals to lands of untold enchantment. As we follow the Yellow Brick Road in quest of Emerald Cities, those portals become hidden to us, removing our access to the wonderland within. Creating art is a means to return to the looking glass and reenter the garden where flowers whisper and birds can talk. As my beaded characters emerge they carry with them tales from the other side of the mirror. I am grateful for the joy and astonishment experienced through this journey.”

Since we only had one class to finish this project and student attention spans vary, I took inspiration from one of her smaller works, a bedazzled seashell! As mentioned before, this project was also perfect to get everyone in the mindset of warm weather vibes. It may only be a high of 45-50 degrees as of tomorrow but at least we didn’t get the snow that was projected to fall this weekend … Again, Michigan problems :(.

IMG_20190425_151756

Having an array of hobby tweezers with different angled ends is a must for this project to help in placing the beads, though there is no need to use teeny tiny seed beads as you can see from the finished projects! All of my Creative Minds students have a disability of some type, and many struggle with dexterity. The tools I’ve linked above helped them enjoy the process and experience success in creating their surreal, whimsical shells. It was easiest for them to apply a bit of glue inside the shell first, and then use the tweezers to just set the bead into the glue, just in case you want to try this at home! All you need is an array of different sized and shaped beads for creating patterns – glass, plastic, or whatever material is available to you works just fine. Though you could use specialty glues like E6000, we used tacky glue in class which adhered well and dries crystal clear. I also made sure to get some “oddities” as a nod to the surrealist quality of Youngquist’s work in the form of some realistic eye charms, though of course students will add their own creative edge to the inspiration project (Frozen, anyone? 😉 ). They were encouraged to start with a central focal point created either by a larger found object or a grouping of one color, and work radially out from that point.

I am so impressed with the results! They really rose to the challenge and created some gorgeous conversation pieces to display in their home. Beaded mosaics are another project that can be adapted to all ages and abilities, and something that anyone can enjoy even if they don’t feel they are “good at art”. The repetitive process of placing beads becomes calming and meditative as you work. A new semester starts in a week, and I am looking to learning about more artists from the present and past together with a new group!

Elizabeth Jameson – Creative Minds Art History Project

Hello all, it’s time for another artist based creative project! I have a great group of ladies in my Creative Minds class this semester at Artshop, and have loved seeing how they interpret the techniques of the masters and make their creations their own. Though often times the focus of my class is renowned artists from history, I also love sharing inspiring and accomplished artists from the present with my students. I work primarily with adults with disabilities so I especially enjoy the opportunity to share the stories of artists with disabilities with the class, and how the artist’s identity as a person with a disability influenced their art and legacy.

Elizabeth Jameson is a visionary artist who found her creativity through an unexpected MS diagnosis. Jameson is a Doctor of Law, and her lifelong passion and driving force for her career was to fight injustice and poverty through the law, striving to make a difference. In the late 70s and early 80s her health took a turn suddenly, and she was eventually diagnosed with Multiple Sclerosis. Due to the progressive nature of her illness she was unable to continue working, and she felt her purpose was lost. A caring friend pushed her into trying an art class just to get her out of the house, and this class ended up changing the way Jameson saw the world and her life. Art teaches us to look at the world through a creative lens, and upon receiving her usual MRI scans from a doctor’s appointment, she came up with  the idea to etch in the stark, clinical and emotionless black and white images with rainbow colors. Her work evolved from there. Today, Jameson is still living her dream of changing the world, and says the goal of her work is to encourage others to, “contemplate the beauty of the brain, discuss what it means to live in an imperfect body, and to stare directly at the imperfect brain’s beauty and complexity with curiosity”. She collaborates with Neuroscientists and a studio assistant to continue her work.

jameson_carousel_utep-gift-1

Messages that can be learned from Jameson’s art and story are that with creativity it is never too late to begin, it doesn’t make you any less of an artist to ask for assistance, and individuals with disabilities have an unlimited potential to change the world for the better.

Obviously, we don’t have access to MRI machines ;), but to pay homage to Jameson’s art we did drawings with colored pencil on black paper. Students were asked to imagine a visual representation of the inside of their head, thinking about the emotions or memories different colors may symbolize, what straight, smooth lines versus wavy or jagged lines may say about what is going on inside their head, and to think of any representational forms that speak to who they are. Some students chose to indicate blocks of color for the different things that consume their thoughts, and some chose to do an all-over image or pattern. One student even dated hers in acknowledgement that one’s mental state changes over time.

I can see this project being an interesting activity for any age, and was pleased within my class on how a dialogue between the students about the meaning of their developing “artistic MRIs” grew as they worked.

As always, feel free to steal, share, or try it yourself at home :). I am hoping others will enjoy and become inspired by trying this project out.

 

Sonia Delaunay – Creative Minds Art History Project

I live in Michigan, and we have been having some wild weather over the past couple of weeks, including over 10 snow days! Since I teach a couple art classes in the program I run in addition to coordinating all the goings on, I still have to get work done on snow days, just without my fun project break :(. I was excited to finally get to host my classes again this week and share a long awaited project with my group! This week’s artist was Sonia Delaunay.

sonia-delaunay

Sonia Delaunay was an abstract artist and designer who not only painted but worked in fabric and costume design, and in 1964 became the first living female artist to have a retrospective exhibition at The Louvre in Paris!

7b8e0747794bbfd304f8ea05fc0fb013

The literal geometry she brought to her most famous costume work for the play The Gas Heart by avante garde poet Tristan Tzara is just fabulous.

Saturday Night Live

You know you’ve got a good thing going if David Bowie is on board! He wore a getup inspired by her cubist suit when he performed on Saturday Night Live in 1979.

Remembered most for her paintings, a lot of her fashion work gets glazed over which is a shame, because it is her fashion and costumes that I personally find the most interesting. Delaunay’s fashion work was revolutionary at the time because she didn’t just take her paintings and hang them on bodies… Her designs for clothing were specifically configured to work with women’s body shapes, and the clothing themselves was functionally designed for movement, not decoration. Come to think of it, this may still be considered revolutionary today! Given this, it was only fitting that our class project be something wearable. Inspired by Delaunay’s colorful, geometric art and design, my class created fabric collage necklaces.

I am all for any chance to upcycle! Discarded leather upholstery samples were cut into boomerang shapes to be used as a base for the collage bib necklaces. I pre-selected fabric for the students to choose from that meshed with the inspiration artist’s colorful, abstract style. All of my students have some form of disability, and a couple struggle with dexterity. Providing prepared shapes cut from matte board for the students to trace gave them a helpful guide to encourage project success and allow them to be able to work independently. They were also encouraged to look for shapes in the fabrics’ patterns that they could follow, as one did with a large red flower. Regular ballpoint ink pens can be used to trace the shapes on the back of the fabric. Fabric scissors were used to then cut out the shapes. Shapes were arranged on the base, and then students used a junky brush to paint tacky glue on the back of their fabric pieces and press them down. Once dry, holes were punched in the ends and jewelry chain attached and voila! Ready to wear!

Lesson planning has been so inspirational to me in my own art and handmade journey, and has pushed me to think outside of the box and come up with ideas I never would have otherwise. Creating this project inspired me to work on my own statement necklaces using not only fabric but my velvet vintage millinery florals I love to collect from ebay and local antique fairs. These necklaces are for sale in my own ebay shop for $25. More designs coming soon!

Blending With Watercolors – Stained Glass Ocean Project

wc blend 1

Hello! Today I want to show you a fun beginner project you can do to practice blending colors with watercolor paints and markers. If you are a complete beginner to color mixing, it is easiest to stick to either all warm colors (red, yellow, pink, orange …) or all cool colors like I did (blue, green, violet …). Some colors when blended together turn into “mud”, making a neutral like brown or gray. This is where understanding the color wheel comes in handy! For more about the color wheel, visit my earlier post Colors Aren’t Scary :). For this project, we will try out both flat brushes and round brushes. Round brushes have a teardrop shaped bristle that comes to a point at the end, and flat brushes have rectangular shaped bristles that are, well, flat on the end. Pretty easy to remember! It’s good to have a variety of sizes of each. Your brush size depends on the size of the area you are filling in. If your brush is too big, you risk getting paint where you don’t want it  but if your brush is too small, you will see all the little strokes and the paint won’t cover evenly.

wc blend 2

I started first with an outline, drawing my design in pencil on watercolor paper and then tracing over it with a waterproof black fine-liner pen (Sharpie fine points will work – You do not necessarily need a fancy art pen, though my preference when I do watercolor and ink work are these bad boys by Staedler.). You can draw your design however you want, or if you want to practice this technique without the added pressure of drawing, feel free to print this outline out and use graphite paper to transfer it right onto a piece of watercolor paper (Don’t have graphite paper on hand? Just shade over the back of your printout with a pencil, lay it on top of your watercolor paper, and trace over the lines and it will work the same way, though a bit more labor intensive.).

 

With watercolor, you want to start with the background and move to the foreground, and you always want to work lightest to darkest. It’s all about layering and building up colors since the paints themselves are translucent. In this more simplified project, we will be focusing just on blending this time, not layering. Still, working with the background first ensures that if any background color does find its way into the waves, which it inevitably will, we can just work right over it later and you won’t even notice by the end. Starting with the background, you want to choose a couple of colors (I used a cornflower blue and a cerulean blue.) and water them down so that they are consisting of mainly water with a small amount of pigment. Then you want to use a larger round brush and start filling in the space using circular motions. This will give our background wash a bit of texture, so that it has a hazy, cloud-like appearance rather than just flat streaks. I applied the cornflower blue on the bottom half of my sky and the cerulean on the top. Because both colors are wet, they should bleed into each other and blend together in a pretty seamless gradation. Be sure to overlap the two colors slightly where they meet. If they aren’t blending enough, you may also rinse off your brush and using the same circular motion run over the line where they touch with your damp brush to work them together further.

Color blending is one of the foundation skills of painting with watercolors, but it takes a lot of practice. Good thing you are about to get a lot of it! We did a textured blend for the background, but within an individual space inside our waves, we are now going to practice some flat blending with the goal of getting our colors to merge into as smooth of a gradation as possible. Now we are going to use a medium sized flat brush. A flat brush will be perfect for the smooth effect we need and will also be easier to keep inside the edges of our geometric shapes. You can tilt the brush so you are only using the tip rather than the whole side for narrower areas. Pick 2 different colors, and start painting one color on one end until you’ve gotten to about halfway across. Rinse your brush, and paint in another color starting on the opposite end, overlapping in the middle. A unique quality watercolor has is that when one color touches another while it is still wet, they WILL bleed into each other. In this case, that is a good thing as using wet-on-wet color with watercolors makes for some pretty low-effort, seamless blending. Still, watercolor can be finicky and things don’t always go as planned. I purposely filled the shape in so that there are darker, patchy areas and a harsh transition between the two colors. This happens sometimes, but can be easily rectified by going back over the uneven area with a damp brush. Be sure to always paint in the same direction, following the length of your shape.

Blending with watercolor markers is a similar process, but you need to be a bit more controlled with your water application so that you don’t completely lose the effect of the ink. I love watercolor markers because you can get such bold contrast, but a little bit of ink goes a long way, and with too much water your separate colors will just swim all together into one mass.  I cannot emphasize enough, quality also matters. If you get cheap markers, chances are they won’t blend nicely no matter how skillful the artist. They don’t need to be officially called “watercolor markers”, they just need to be water soluble so they will run when wet. I love using Tombow’s water soluble brush markers. You also need to think about the values of the markers you are using. Deeper colors will spread a lot farther than paler colors, and can overpower. I have started with a darker color, a royal blue, and a lighter more muted color, a sage green. Start by scribbling a bit of each color on opposite ends of your shape. You do NOT want to shade the entire area in. Again, a little bit of ink goes a long way when water is added. Then, still using a flat brush you want to dip your brush in some water, tapping off the extra on a nearby paper towel. Wet the ink on one side and work it into the middle of the shape. Rinse off your brush, and wet the ink on the other side, again working towards the middle where they will meet. The wet colors will again, flow together and seamlessly blend pretty much on their own once they meet, staying darkest where you first laid down the ink. You can see above that a gradation is apparent, but the blue has pretty much taken over as the main color you see.

Trying the process again using the same 2 colors, but shading in only a tiny bit of blue and more of the green, you can see we get a more balanced effect where the pure green color is still highly visible.

 

You can also create a gradation with only one color. The beauty of watercolor is the depth of value that can be captured from one single hue, simply by adjusting the amount of water added. To do this you would apply a bit of the same color on each end in a darker or medium value (mixing less water with your paint). Then, rinsing off your brush, add some water to the edge of the area of color on each side, again spreading towards the center from each end. The color will remain most saturated at the ends, and will be the lightest (most watered down) in the center.

If at any point you add too much water, your gradation is in danger of all just running together into one flat tone. If this happens, you can blot the area with a paper towel to lift the excess water (and some of the pigment), and then blend right over again. You don’t want to see any “puddles” pooling on your paper … that is a sign there is too much water being used. Also keep in mind damp is ok, but if you are filling in a new area next to an old one that is still very wet, the colors will bleed together over your lines. Sometimes it helps to use a blow-dryer to speed along the drying process. Or, you could just work on filling in areas that aren’t touching each other until each spot dries. The paint air dries pretty quick.

wc blend 1

Here is a reminder of the final image! It is the same blending process for each section, which is what makes it good practice. I filled in some spaces using the markers, and some with paint. I kept lighter colors on the crests of the waves, and alternated medium and dark tones throughout the body of water, making sure not to fill in too many of the same colors right next to each other. It always feels good to still have some sort of finished product after practicing techniques, and I guarantee you will start to see a difference in the first couple spaces you fill in versus the last! Remember, it’s all about playing with color. Have fun!

Piet Mondrian – Creative Minds Art History Project

piet.mondrianI promised I’d catch up in posting all my Creative Minds art history projects from the Fall and Winter semesters!

You may not recognize the name “Piet Mondrian“, but I guarantee you’ll recognize his imagery. Mondrian was interested in simplifying art down to its basic essence, and creating a type of universal design that could be used for everything: visual art, furniture, architecture, clothing … I’d say he was pretty successful, as his primary colored designs composed out of different sized squares and rectangles bordered by bold black lines can be found covering posters, furniture, jewelry, shirts, and the pair of Nikes I would buy if I were rich.

We do a lot of painting in the Express Yourself Artshop program, so though we easily could have done the whole “make a grid on canvas with blue painter’s tape” thing, I wanted to try something more original – transferring a Mondrian design onto glass. The glass we used was just glass from the inside of an inexpensive frame. This could be done in any size. The actual frame could easily be used on a future project. We used primarily colored tissue paper for our rectangles, though we happened to have a bit of patterned and textured vellum on hand that can be found in the scrapbooking section of craft stores and is great for mixed media art. The goal is to use thin, transparent paper so light can shine through the glass. I cut a variety of different sized rectangles and squares out of scrap cardboard for students to use as a pattern. Students chose their colors, and then traced different shapes using the patterns until they had a good pile to choose from. They then laid out their shapes on the glass to create the desired pattern. After they were happy with their design, it was time to glue. We just used traditional liquid school glue, but squeezed the glue out on a piece of foil and used a crappy paint brush to paint the glue on the back of the paper so it didn’t get too saturated.

 

The front of the finished product is going to be the glass side without anything glued to it, so if you do end up using papers with a one-sided pattern, you need to glue the side you want to see face down. Once the paper dried, we trimmed any paper that was hanging off of the glass and used a ruler to draw on the glass side (NOT the side the paper was glued on to) with a black, medium tip paint marker. This sharpens and finishes the design, and also disguises any uneven edges.

These can be as simple or as intricate as you want, and are a fun project with a beautiful end result that can be completed fairly independently by all ages and abilities. My students with disabilities who struggle with dexterity were still able to do this on their own and end up with a piece of art they were proud of. Display in a clear plastic plate stand … It would be especially cool in front of a window or other lighted area. Have fun creating :)!