Hey guys! I'm taking an indefinite break from blogging. If you'd like to keep up with what's going on, please subscribe to my weekly newsletter. It goes out every Friday. It's free and (I hope) packed with inspiration.
I've been blogging since 2006 (17 years!!). I've learned a lot, become a much better writer and artist, and made some wonderful connections with other artists. I still enjoy the process of blogging, so I may come back to it at some point. But it's an enormous amount of work and I'd rather pour that ebullient creative energy and love of sharing into the classes I teach.
Hope you have a great week!
Julie
]]>Please join me every other month in 2024 for a new live online class!
This course is designed for painters at all levels. The lessons lay a solid foundation for beginners while offering an expansive perspective to mid-level and advanced artists.
I put "practical" in the title because the course is packed with immediately usable tips, exercises, and ideas for you to integrate into your own work. It's labeled "for painters" because the class exercises are designed to help those who use paint in their artwork. Mixed media collage artists and printmakers are welcome to join. There are copious color take aways for your own practice.
Color theory is the study of how colors work together as well as how they affect our emotions and perceptions. Practical Color for Painters provides you with the essential color knowledge you need minus the overwhelming complexity. Don't let confusion dim your creative spark—embrace my simple and practical approach to color theory today and become color confident!
You will Learn:
Throughout the series, students will not only gain technical skills in working with color but also develop a deeper understanding of the expressive and psychological aspects of color in art.
Be sure to get the EARLY BIRD SPECIAL. The normal course price is $300. Until December 31, 2023, you can get 25% off and snag all six classes for just $225. That's $37.50 per class! No coupon necessary.
Don't miss this chance to enhance your painting skills and embrace the joy of color – reserve your spot today!
]]>Today is the last day of the 4-part series on some of my favorite art supplies, divided by discipline:
So let's wrap this series up with art supplies for collage artists!
There are two main things to talk about with collage: paper and glue. So let's start with paper. The main papers I use are:
I paint/print most of my papers and most often reach for my gelatin plate and stencils to do so.
Here's a video where I share the very basics of how to use a stencil on a gelatin plate:
The two main glues I use are:
The only other thing I'll throw out there is that I have a big plastic bin that I loooooove to use for holding my collage papers while I work.
Since I integrated it into my practice, it has made things much easier because my desk is so much less of a mess and all of my little scraps have a place to live. When it gets too full, I either put everything away where it actually goes or I make scrap packs!
I hope you enjoyed this series and found something new to try out and integrate into your artistic practice.
Thanks for stopping by!
]]>Hello friends! It has turned mighty cold around here. My Mom is convinced that it's going to be a brutal winter because the squirrels are super fat this year. I also saw a video online from a beekeeper that said the bees are really packing away the honey and so we should all prepare for a long cold winter. I wonder if the animals are two steps ahead of us?
In the meantime, here's the news from around here:
Family News
We have three November birthdays in this family. One Scorpio and two Sagittarians (I had to actually look up the plural and there's some debate, but I think that's correct).
All three are a year older and wiser. (And we had A LOT of cake this month!)
I have a new class that I'm offering in 2024. It's called "Practical Color for Painters" and I'm offering an Early Bird Discount (25% off) until December 31.
I'll have a long blog post all about it next week. In the meantime, if you're curious, you can learn more and sign up HERE.
A Recommendation
I never thought I say this, but watch these two videos about linoleum floors.
Anyone else really want to make a linoleum inlay floor after watching those videos? I do!
So, that's the scoop on life around here at the moment. If you're a Monthly Member, both the November personal vlog and studio vlogs are up in the classroom. Did you know that it costs me close to $2000/year to host this blog and email it out to those who wish to get it in their inbox? Becoming a monthly member is an easy way to support the writing of this blog and get great art content. A win-win!
Thanks for stopping by!
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P.S. In case you don't know, I send out a weekly newsletter on Fridays. You can subscribe HERE.
]]>As you know, we're in the midst of a 4-part series on some of my favorite art supplies, divided by discipline:
Today we've made it to #3: art journaling supplies!
I've put together a video with all the details about why I like and use these particular supplies:
And here's the list of goodies from the video:
Using your favorite art supplies when you're art journaling is like creating with a friend. It's like wearing your favorite comfy sweater while you work – there's this instant connection and ease. These go-to tools aren't just about making pretty pictures; they're actually helping you feel more comfortable as you work. I love trying out new supplies, but nothing beats playing with my favorites.
Do you agree or disagree?
]]>As you know, I've put together a 4-part series on some of my favorite art supplies, divided by discipline:
Today I'm excited to share #2 on the list: my favorite art supplies for printmakers!
I will always be a gelatin plate fanatic.
Gelatin printing is immediately fun for beginners and so deep and complex that it can keep advanced printmakers hooked for years. You can make super fun accidental prints, but with a little know how, you can make glorious purposeful prints. If you don't have one, get one. If you already have one, size up! I've been loving using my 16x20 plate to make big art!
Every printmaker needs a brayer. In virtually all printmaking disciplines, there's some kind of ink or paint rolling that's required at some point. I own Speedball soft rubber brayers in multiple different sizes.
I used to be dedicated to the 2" brayer, but I find myself reaching for the 4" more often these days. The 6" is on my holiday wish list!
A baren is one of those tools that I use virtually every time I do any kind of printmaking. It's a tool that creates even pressure when you use it.
A baren is versatile, compact, and makes hand printing easier to do with better results. Plus, you only have to buy one in your life. It doesn't wear out. I've had mine for more than a decade.
Recently, I've fallen hard for Speedball Professional Poster Black Screen Printing ink.
It's only for paper -- so don't use it on fabric or anything you plan to wash. But, it's crisp and clean and one of the easiest screen printing inks I've ever used. Perfect consistency and great results right away!
Speedy Carve is one supply I always need to have on hand. No list on printmaking would be complete without it.
I've tried a number of other blocks from many manufacturers and I keep coming back to Speedy Carve. It is both easy to carve and strong enough to last for years without breaking and crumbling. I recommend it to every stamp carver. Well worth getting the name brand for stamps that make great prints and last.
If I could only have one ink pad for the rest of my life, it would be a Jet Black Archival Ink Pad.
Buy yourself a re-inker and you can keep using that ink pad for years. The reason I love Archival Ink is because it stamps (and dries) on top of dried acrylic paint. There aren't a lot of ink pads that do. It also doesn't require any special stamp cleaner. It has no funky odor and it's totally permanent once dry. It's definitely one of those tools that I can't live without.
When I'm doing chine-collé, I love to use YES! Paste.
It has a fairly long open time. It can be spread with a brush. And it really sticks.
Finally, the best tool ever for registration are Ternes-Burton Pins and Tabs.
You cannot beat them for ease of use. They were designed to make registering multi-colored lino prints easy. (I cover how I use them for gelatin printing in my Year of Gelatin Printing course.)
So there you have it: my favorites. I hope you found this post useful. Let me know if you have printmaking supply faves you'd like to share!
]]>From my family to yours, Happy Thanksgiving!
For our Thanksgiving table, I made some updated versions of these paper utensil pockets from last year:
This year I used painted papers and I temporarily parked my art supplies in the pockets.
Later today, I'll set the table and they'll get silverware instead. ❤️
For all who celebrate Thanksgiving, I hope it's a happy and healthy holiday for you!
]]>Hello! I've put together a 4-part series on some of my favorite art supplies, divided by discipline:
Obviously, there's some overlap in there, but I hope you'll find it useful. Today I'm sharing items from the first list -- my favorite art supplies to use when I'm painting!
Golden Acrylic Paints will always be my #1 pick for acrylic paint. They're incredibly versatile with lots of different choices in viscosity. For paintings, I primarily use:
When possible, I like to buy the heavy body acrylics in the jars because I find the tubes fiddly. The jars are both more expensive (because they contain more paint) and take up more room, but they're a better value in the long run.
If you do get tubes, then be sure to buy a Golden Gripper. It eliminates the frustration of opening paint tubes.
Mine hangs on my paint cart so that it's always easy to find and use.
If you're looking for a great introductory Golden Paints kit, I highly recommend the Golden A-Z Acrylic Paint Set.
It's a sampler pack and includes a selection of Golden Heavy Body Acrylics, Fluid Acrylics, Open Acrylics, and High Flow Acrylics, as well as pastes, gels, and mediums. Plus there's an included instruction guide!
The Tri-Art Non-Stick Palette is my go-to when painting large.
I have the 16x24 and it's so lovely to work with a really large palette. It makes mixing custom colors a breeze.
For brushes, I love a pack of cheap brushes that still get the job done and the Blick Essentials White Nylon Brush sets are a favorite in the cheap-but-quality category.
I use and abuse mine and they're still in great shape.
If you're willing to spend more money, I will always enthusiastically recommend Princeton Catalyst Polytip Brushes.
They take a beating and keep on kicking. Many of mine are more than a decade old and still as good as new. (And I am not kind to brushes, so that's amazing.) I like both the long and short handled brushes.
Paint pucks are an often overlooked supply.
You slip them into your water jar and they make cleaning your brushes a much easier process. I'm all for things that are easy!
And finally, the secret to resuscitating a paintbrush that has become as hard as a rock: Murphy's Oil Soap.
At all times, there is a yogurt container next to my sink that is filled with a mixture of Murphy's Oil Soap and water. I leave my dried hard brushes in the mixture overnight and in the morning, they're soft and pliable. It's magic!
Use the comments to let me know your favorite supplies for painting. I'm always interested to hear what other people love to use!
Thanks for stopping by!
]]>One of the skills I've developed over the years is figuring out how to fix my mistakes...because I make a lot of mistakes. In fact, as you've probably heard me say many many time, there are no mistakes, simply creative opportunities. In this video, I show you how I create a creative opportunity for myself!
Members can watch the real time version of this video in the online classroom. And here is the finished piece from the video:
You can grab this piece in my online shop. The holidays are coming and original one-of-a-kind art makes a great gift!
I run a monthly group coaching session through the Super Learner membership program. It was originally called "critique group," but so many people had a negative reaction to the word, "critique," that I decided to change the name. Critique can be terrifying -- especially since it is so often done incorrectly (meaning in an unhelpful and hurtful manner). The good news is that if it's done correctly, critique can help you grow much faster than you could on your own. So today, I thought I'd share the special sauce recipe -- aka how to do critique so that it nurtures creativity rather than crushes it.
Start with Positive Feedback: Begin your critique by acknowledging what you like about the artwork. Highlight the artwork's strengths, such as color choices, composition, or the emotions it conveys. Starting with positive comments sets a supportive and encouraging tone.
Respect Their Intentions: Understand the artist's intentions, style, and the message they are trying to convey in their work. This will help you provide feedback that aligns with their artistic goals. If you don't know, ask. Along the same lines, ask the artist what kind of feedback they would like to receive. Do they have specific questions? Is there a certain area they're looking for help with?
Be Specific: To make your feedback more valuable, avoid vague statements like "I like it," or "I don't like it." Provide specific details about what you like or don't like and WHY. For example, you could say, "I love the way you used vibrant colors in the background to create a sense of depth." Or, "I feel like my eye slides off the canvas -- instead of staying within the composition -- because of the placement of that yellow section." If you can't say WHY something does or doesn't work, don't say anything. I cannot emphasize this enough. If you can't help the artist with a WHY, then your feedback is useless.
As a presenting artist, you also need to be specific. Please don't show up to a critique and say, "What do you think?" That's like asking somebody, "What do you think of my life?" You need to present a problem for others to help you solve. For example: "I like this piece, but I'm concerned that it feels chaotic instead of contained." Now I know exactly what you want feedback on and I can give it to you.
Focus on the Big Picture: While addressing details is important, also discuss the overall impression of the artwork. Consider the composition, visual hierarchy, and the message it conveys. Ask questions like, "What were you hoping to communicate with this piece?" When we focus too much on details, our feedback can become proscriptive -- i.e. "I would put a red dot there." Instead you could say, "I really like your use of red in this piece and I wonder if there's a way to use it to help bring the eye around the entire composition." Let the artist figure out exactly how to do that, instead of you.
Offer Your Perspective, Not Absolutes: Art is subjective, and what works for one person may not work for another. Use "I" statements to express your opinions. For instance, say, "I think the shading on the face could be improved to add more dimension." Use phrases like, "In my opinion," or "I feel," to convey that your feedback is based on your personal preferences and perspectives. You can even offer context. For example, "I tend to like lower contrast artwork, so the color combination you're using really works for me."
Be Respectful and Sensitive: As you know, creating art can be a vulnerable process, and sharing it is too. Always provide feedback in a respectful and considerate manner. Be open to the artist's responses and questions. Artistic expression is a personal journey, and they may have reasons for their choices that you haven't considered. Critique should be a conversation, not a lecture. You're not competing against each other. Critique should feel like a team event with everyone working to bring each member forward.
If you take just one thing away from this blog post, let it be this: constructive feedback is about nurturing a fellow artist's growth and not about imposing your personal taste on their work. Your feedback can make a significant difference in their artistic journey -- both positive and negative. So, the next time you're asked to critique an artwork, keep these guidelines in mind to offer feedback that inspires and empowers creative growth.
Thanks for stopping by!
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PS: If you're not sure how to provide the WHY to other people. If you don't know how to even ask for feedback because you can't figure out why your work isn't doing what you want it to, then Design Boot Camp is for you. Sign up today.
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