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Artists tell stories—it’s what we do. But sometimes we need fresh inspiration and a new way of looking at things to keep our stories dynamic and compelling. So I’m excited to tell you about a brand new kit called Storytelling Art Collection that’s all about helping you reveal your unique stories through your artwork while adding some really fun techniques to your mixed-media repertoire.
The collection features the work of Cathy Nichols, a mixed-media and encaustic artist whose work is whimsical, dimensional, colorful, and—yes—it tells a story. The bundle includes her new book, Storytelling Art Studio: Visual Expressions of Character, Mood and Theme Using Mixed Media, plus four new videos: Collage & Painting Techniques for Storytelling Art, Encaustic Collage Techniques: Storytelling Art, Encaustic Painting Techniques: Mark Making and Color, and Acrylic Mark Making for Encaustic Effects. Best of all, you have a choice of a physical kit, with a book and DVDs, or an all-digital collection.
Let’s start with the book. I think what I love about it most is Cathy’s approach to creating art. No matter what your style or technique, you have a story to tell, and you need to tell it in your own way. Cathy helps you get there by showing you innovative techniques, new mediums, and by giving you great inspiration and ideas.
In the introduction she writes, “Remember that storytelling is a process. If, at first, you can’t draw a person or a tree, please don’t be discouraged. You’ve simply uncovered a skill you can develop. Keep practicing and concentrate on your strengths. Make mistakes. Make things up.”
Among the ideas you’ll discover is how to use trees as characters in stories. That’s right—trees. This speaks to me, since I have trouble drawing figures. Cathy takes you through every step of creating a background, drawing a tree and imbuing it with personality, incorporating collage, and adding great details like mark making. All of these things are designed to make your piece come alive.
The chapter Mark Making for Mood is one of my favorites; I love adding expressive touches to my artwork, and Cathy shows how to use mark making and paint glazes to take your work from okay to amazing, and it’s all incredibly easy and enjoyable to do. This book has so much to offer: tips for choosing color palettes, inspirational warm-up exercises—you won’t want to put it down, except when you have to grab a paintbrush.
Onto the videos—and remember, there are four. I’ve seen all of them, and I honestly can’t choose a favorite because I learned so much in every. Single. One. Also, they’re paced perfectly. You’ll be able to absorb everything without feeling like you’re racing to catch up.
In Collage & Painting Techniques you’ll work on two pieces at once, which allows you to organically work in a series. You’ll get insights into Cathy’s painting and collage processes, which are thoughtful and intuitive at the same time. She brings calm to what is sometimes chaos (at least it is for me at times) when trying to build a cohesive collage.
In Acrylic Mark Making for Encaustic Effects you’ll create a stunning piece on a wood substrate, incorporating easy mark-making methods that yield amazing results. More painting techniques are also included, such as using color to enhance the mood of your piece, and Cathy shows a great way to get the look of encaustic using special techniques.
Encaustic art is intriguing, and it’s easy to see why; it’s difficult to get that soft, dreamy look any other way. While the technique may seem intimidating, Cathy makes it so easy, explaining the components of a basic encaustic set-up, and how to use encaustic medium and paint. Both Encaustic Painting Techniques and Encaustic Collage Techniques show you, start to finish, how to create with wax, incorporating everything you love, like collage, color, and drama. Following Cathy’s instructions as she builds her pieces is a breeze. Throughout, she always comes back to using art to tell a story—your story—with your distinctive voice.
The nice thing about this collection is that you don’t have to decide which combination of book and videos to get—you get them all! Whether you choose the physical or digital bundle you’ll find, as I did, that a new door has opened—and amazing things are waiting for you.
Taking art outdoors requires some guts and a little planning, but few things are more exciting and rewarding. Whether you’re art journaling in an outdoor café, painting en plein air, hosting a hand-lettering demo, or just doodling in a notebook in the park, being outside or with other people adds elements of inspiration and surprise to creating art.
The July/August 2017 issue of Cloth Paper Scissors is our travel and adventure issue, and it’s filled with great projects for making art on the road—or in your own backyard. Get tips for sketching in cafés, learn how to prepare travel journal pages, and create mixed-media paintings from maps. If you’re a little reticent to go public, you’re not alone. As I write in the editor’s letter, the first time I sketched in a café I was a wreck. A sweaty, paranoid wreck. I thought I’d be judged harshly by passers-by, leaving me with shaken confidence. Turns out hardly anyone noticed, and those who did only had complimentary things to say. I now take my art journal with me wherever I go, creating art in coffee shops, at the beach, in museums—and I wouldn’t give it up for anything.
We asked a few mixed-media artists to tell us their tales of taking art outdoors, and we got incredible responses—funny, poignant, and inspiring. Read on:
Rae Missigman (raemissigman.com)
I like to take an art bag with me wherever I go so I can create no matter where I am. You never know when inspiration will strike! Being out of my element is often the springboard I need for new and interesting art material. One day I was working in my tiny Pocket Journal™ while at the beach. I was trying to sketch and paint and journal, all within the confines of my lap, to avoid getting sand in my book. I was struggling a bit, trying to balance my palette, when a woman near me leaned over and said, “I commend you for what you are doing right now, for doing anything it takes to make a little piece of art. I gave it up years ago, and would never have had the courage or patience to do what you are doing right now.” It caught me off guard because I was so busy doing what I am passionate about. In that one moment I realized how much the creative process means to me.
Jodi Ohl (jodiohl.com)
To be honest, creating art in public is something I rarely do. I have a bit of a fear of being judged or scrutinized by people. However, when I make a commitment to paint or create in public I really enjoy it, and the anxiety goes away once I’m in the moment. A couple of years ago I was asked to create a painting during a First Friday art event downtown in Southern Pines, North Carolina. Music, food trucks, tons of people, sidewalk sales, kids’ games, and more were going on while I worked on the biggest painting in my life in front of a crowd. I was stressed beyond belief because of the number of people there. What if what I created was junk? What if I choked? Those fears could have paralyzed me if I had let them. Kids came up wanting to help, so I let them add brush strokes or their names to the piece. Adults wandered in and out of my booth, most with kind and encouraging comments, or they took pictures. One man stopped by and asked me what was I creating—other than a mess. Ha! If that had happened at the beginning of the event I probably would have cried. But, after a couple hours in, and seeing that my painting was starting to come alive, I dismissed what he said and told him that I was creating my life. After the event I took the painting home, finished it, and brought it back to the shop to be put up for sale. I ended up selling the largest artwork I have ever created for the most money for an individual piece. One person’s mess is another patron’s treasure.
Gina Rossi Armfield (noexcusesart.com)
I walk the walk as an artist, author, and educator, so when it comes to No Excuses Art, I truly mean no excuses. The great thing about watercolor is that you can do it anywhere—and I mean anywhere! I have worked in my journal in restaurants, planes, boats, airports, at the beach, in the car, and even at the base of a mountain watching my boys ski. A favorite pastime when I travel is finding a quiet spot in a coffee house or bookstore, and spending a few hours working on watercolor sketches in my journal. I usually do this alone—or sometimes even better, with my sister. It’s so rewarding to have strangers come up to me and ask about my work. They often share their own experiences with creativity, telling me how they used to draw as a child or teenager, but gave it up. I always find this such a wonderful opportunity to encourage them to keep going. My mantra is, you don’t have to be an artist in order to draw or paint—you simply need to enjoy it! I can’t dance and sing like Lady Gaga, but that doesn’t mean I don’t sing along in the car or shake my groove thing on the dance floor. I am an introvert in many ways and can find my happy place working in my sketchbook, drowning out the world. But I’ve found that creating in public allows me the wonderful opportunity to share my passion for art and connect with the most amazing people.
Chris Cozen (chriscozenartist.com)
For years I have done live demos for groups where I have painted in public. But the most fun I have ever had painting in public was last year when I organized a painting booth at the Tri-C JazzFest in Cleveland, Ohio. We prepped large canvases with black and white gesso, put them on easels of various heights, and invited people to come paint with us. It was pretty great watching parents, toddlers, teens, and seniors stopping by to put their marks on these big pieces. This painting event was planned as a marketing tool for my niece to introduce her new Montessori school to the public, and it worked like a charm. The booth was never empty, and we filled up six 3′ x 5′ foot canvases. My niece used a couple of the painted canvases as backdrops for class photos. Showing that you are comfortable painting in public really invites people to come over and visit.
Mandy Russell (mandyrussell.com)
The funniest (or maybe not so funny) thing that happened to me while taking art outdoors occurred several years ago on a warm, sunny day in Bath, Maine. I was sitting in a small historic downtown area, perched in my portable camp chair on a sidewalk with my sketchbook, and positioned (unbeknownst to me) very close to a storm drain. The street was hilly and crooked with granite sidewalks and cobblestones. I packed light that day with my art supplies, trying to simplify my routine. I had a cheap black ballpoint pen and several Caran d’Ache Neocolor II crayons—the glorious water-soluble artist’s crayons that are expensive, but worth every penny. You can see where I’m going here…I had been drawing the street scene for a bit, and I felt the need to reposition myself. I got up, forgetting that I had put the crayons in my lap. The crayons leapt out of my lap, hit the street, and a couple of them rolled down the storm drain. The moral of the story? Have a better organizational plan. Pack light, but don’t depend on your lap for storage!
Before you head out to take your art on the road, get more techniques for creating art and travel journal pages!
Artist and author Jen Wagner designed Happy Hand Lettering to help readers learn the basics of hand lettering and incorporate lettering into different areas of their lives. Her lettering adventure started with a challenge she gave herself to learn a new art skill. After several months of practice and learning, she accomplished her goal. In Happy Hand Lettering she discusses everything from basic lettering terms to kerning to composition, and much more. Wagner provides plenty of information, and lots of fun projects, too. It was definitely something I had to check out.
Whether I’m just doodling or creating something special, there are always letters involved. What I loved about Happy Hand Lettering is that it offers so much information and inspiration—and not just concerning letters. Once you have your lettering skills down, you’ll use the letters in lots of fun ways.
Wagner helps you take your basic hand-lettering to the next level, stressing that “imperfection is a wonderful thing.” Learn to thicken lines, add flourishes, use a paintbrush instead of a pen, and . . .
Add decorative elements. She makes it look so easy! This delicate flower started with dabs of paint. Adding water with a clean brush, she formed loose petals and leaves to complete her design. Easy, but impressive! Wagner’s many samples and step-by-step instructions will have even the most timid painter creating beautiful blossoms in no time, enhancing any lettering project.
If you want to take your new lettering skills even further, there is plenty of instruction for making place cards, menus, gift tags, decorative signs, and more.
One of my favorite projects is a decorative mug. Simply lettered using an oil-based paint pen, it’s sure to please someone on your gift list.
The longer days of summer offer the perfect opportunity to try something new, and Happy Hand Lettering is a great resource to get you started. Think of the possibilities!
Paper cutting has fascinated me for years, but I’ll let you in on a little secret—I’ve been too intimidated to try anything but rudimentary designs. Some of the cut paper art I’ve seen is so intricate that I can’t quite believe a human being made it. I thought it would take countless hours of practice to produce something good. Nope—I just followed expert instructions from Samantha Quinn, and I’m thrilled with the results.
Samantha’s Paperology article in the July/August 2017 issue of Cloth Paper Scissors breaks down paper cutting techniques into doable bites, so that in a short amount of time you’ve got a fantastic finished project. She shows how to make a dimensional, layered paper-cut frame using a rose design, and offers fantastic tips for working with tools and paper. Paper cutting is a growing trend in mixed-media art, and no wonder—the effects you can get with a simple sheet of paper are nothing short of stunning.
Her template is available to download (see our Online Extras), but Samantha gives you enough information that you can easily use your own design. I did just that, using a photo of some lilacs as inspiration.
I starting with a 4″ x 6″ photo of some lilacs I took in the spring. I thought some of the four-petal flowers would work well for paper cutting.
I created a ½”-wide frame on a sheet of copy paper and sized the blossoms in the photo to fit the frame. I chose a few of the blossoms in the photo and traced them around the frame, using a light box. The copy paper was sheer enough so I could see through it, and I made sure the petals connected to each other and the frame, so it was one piece.
When I was happy with the design I scanned it, flopped it 180 degrees, and printed it onto a piece of 8 ½” x 11″ pale pink cardstock. Using this as a template, I cut out the flowers.
Among Samantha’s tips: Cut the small areas first; in this case, the centers of the flowers, the cuts in the petals, and the spaces between the flowers. If you cut the large areas first, it weakens the paper, making more detailed cuts difficult, and upping the risk of tearing the paper.
She also recommends changing your blade frequently, something I had to remind myself to do. This tip (one of many) is a life saver. And if you feel guilty going through blades, don’t. Blades can be recycled, and it’s an important habit that will help ensure great paper cutting results. Also, don’t rush the cutting. You can take breaks and do it in stages, but this should be mindful work. I found it extremely meditative. One more thing—there’s a very quick learning curve. Following Samantha’s instructions, I was able to see my technique improve enormously in just this one project. That’s how good she is.
When I finished cutting the frame I printed the same design onto a piece of green cardstock, and cut around just the outer border. To add a little more layering to the piece, I cut tiny pieces of lavender and yellow cardstock and adhered them to a few of the flowers on the pink cardstock so the colors would show through the cuts. In her article, Samantha shows an even better way to add more dimension to your piece, so don’t miss that.
The photo was adhered to the back of the frame, and a piece of foam core was adhered to that. Then the green paper cut was adhered to the other side of the foam core. That little bit of spacing adds a wonderful 3-D effect.
Paper cutting is fantastic for cards, art journal pages, handmade books, and collage, and paper cut art makes an incredible gift. Since doing this project I’m a little obsessed with it, and it’s now a permanent part of my mixed-media repertoire. Why not make it part of yours?
The complete instructions for beautiful cut paper art can be found in the July/August 2017 issue of Cloth Paper Scissors, and these other resources will feed your love of paper, too!
Hand lettering is more popular than ever, and lettering enthusiasts are always looking for ways to add to their repertoire. In the July Lettering Lesson, Alexandra Snowdon uses masking fluid to create crisp white letters within watercolor shapes. I loved the look, and decided to give it a try.
I chose two simple shapes for my lettering project: a sun and a star. After drawing the shapes, I added the lettering in a chunky font as Alexandra suggested. This gave me room within the letters, making erasing easier and also offering space for embellishing if I chose to do so. I also added some decorations within the shape.
After shaking the masking fluid, I poured a small amount onto a plate and, using a silicone brush, I painted inside the letters with masking fluid, working right up to the pencil lines. Once the letters were done, I added a ¼” line of masking fluid around the outside of the shapes. This would help contain the watercolor in the next step. The masking fluid had to dry before I could continue, so I set them aside for about an hour.
I applied a wash of water to the star first and then painted it with a slightly dilute yellow watercolor. Working wet-on-wet helped guarantee a nice even coverage. I did the same for the sun. I let them dry for a few minutes, and decide they needed a little something more. I added a little orange here and there on the sun, dabbing the paint with a paper towel, and did the same to the star, adding some blue. I think that was a nice addition.
After allowing the paint to dry for a while, I rubbed the masking fluid with my finger, peeling up an edge, and removed it from the outlines and the lettering. It peeled off easily and the letters and other drawn elements really stood out.
Time for some more color! I chose to outline the small stars on the large star shape, and colored in the tiny dots with a dark blue colored pencil. I also traced over the lines within the letters. On the sun shape, I colored in one heart with red colored pencil, and traced the other heart and decorations with the same pencil.
I really like the look I was able to achieve with the masking fluid. I did have a little trouble erasing some of the lines because I went over them with paint, but next time I’ll be more careful. I look forward to doing more lettering with this technique.
I love vintage photos and the questions they spark. Who are these people, and what are these things in the picture? Where was the photo taken? What was happening in the minutes leading up to or following the shutter click? I also love painting imaginary landscapes that border on abstraction, and I recently began to wonder how I might marry the two. The immediate answer was collage, yet cutting and pasting didn’t excite me. I wanted a flat plane, like a piece of paper, in which the photo and the painting existed together, with no seams or glue. It made me wonder: What would happen if I scanned a photo and then laser printed it onto watercolor paper? Would it work from a technical standpoint, and if so, could I paint new backgrounds to change the narrative of the photos? Those questions led me to these techniques, which I’m happy to share with you.
Note: I have been experimenting with Adobe Photoshop® quite a bit, and wanted to use this exercise as an opportunity to merge both digital and traditional techniques. However, you can also explore these techniques by copying a photo and cutting and pasting it onto a sheet of paper.
- Images scanned into a computer
- Photo-editing software that allows you to separate the images from their backgrounds (I used Adobe Photoshop®.)
- Epson watercolor paper, 8 ½” x 11″
- Laser printer
- Assorted watercolor and gouache paints (I used Turner Acryl Gouache.)
- Round paintbrushes, various sizes
- Optional: Eraser
Prepare the Images
Using the Quick Selection tool in Photoshop, I extracted the images from the original vintage photos. I then created a new file for each image and sized the images to fit the finished paintings (one painting is 5 ½” x 8 ½”, and the other is 8 ½” x 11”). I placed the images on the digital page in an interesting composition. Unless your composition is symmetrical, I find it’s best to place an image off center to create a more engaging composition. I wanted to experiment with both gouache and watercolor, so I shrunk two of the images to allow for plenty of white space around them. I sized another image to fit the sheet so I could tint the image with watercolor. I saved the images as 300dpi jpgs and printed them onto Epson watercolor paper, using my office laser printer.
Note: The first print had excess toner on it, but I was able to remove most of it with an eraser.
Create New Backgrounds
The more artwork I create, the more I delight in the juxtaposition of contrasting elements. In the two smaller paintings I explored using abstract shapes and symbols in combination with the photographic images to tell a story.
The photo of my late grandmother is the perfect image of her. I wanted to paint a big heart behind her that expressed my love—she was always a lovely lady and happy to serve. I also miss her very much, and often feel a bit of sadness, so I painted a cloud with rows of dots symbolizing rain.
After painting the first two shapes with gouache, I brightened the work up by painting a yellow circle fragment representing sunshine. I always work from large to small, finishing the bigger shapes first, then adding smaller patterns.
The second image of my grandparents outside a house (I think it’s in Bisbee, Arizona) was created in a similar manner. I wanted to maintain the narrative of them standing outside of a structure in a warm climate, so I painted shapes with gouache that were evocative of a house and foliage, and added a sun.
Note: Using gouache on both of these pieces allowed me to achieve a flat field with a matte finish.
Tint Images with Gouache
As I worked on these pieces I became curious about adding water to the gouache to tint some flowers on my grandmother’s dress. I could have used watercolor to achieve the transparency I wanted, but watering down the gouache worked well.
Looking at the photo above, I was reminded that at one time my grandmother had the entire upstairs of her home wallpapered and decided she didn’t care for the color of one of the blooms in the pattern, so she repainted all of them!
After painting the backgrounds on the first two pieces I wanted to see how watercolor would work for tinting an image. I discovered that the paint worked well. The toner-based images are waterproof, allowing me to create wet washes over the desert painting without affecting the crispness of the printed images.
I allowed each colored wash to dry completely before working in the area next to it.
Note: Although the laser-printed images are waterproof, the toner can rub off if you use too many brushstrokes or brush too vigorously.
Creating New Narratives
I find myself incredibly excited by this process, and believe you will be too. The technique allows you to engage with vintage photos on a different level than just a viewer. You can explore symbolism and your relationship with the people in the pictures, as I did with the painting of my grandmother as a Red Cross volunteer. You can tell more vivid and colorful versions of existing stories, as with the painting of my grandparents standing outside a house, or you can simply juice up photos you love by tinting them with transparent watercolor. Regardless of the approach, playing with vintage photos this way allows artists to create new, exciting narratives.
Cassia Cogger is an artist, teacher, and author who is inspired to create artworks, creative courses, and experiences that allow individuals to enter into greater relationships with their surroundings, becoming present to that which is essential. As much as she is excited by color, shape, pattern, and beauty, she is more excited by what the creative process reveals. Her work has been featured at the National Academy Museum in New York City, she has appeared in Watercolor Artist magazine as a rising star, and has had her work featured in a host of galleries and private collections. Check out her new book from North Light Books, Creating Personal Mandalas: Story Circle Techniques in Watercolor and Mixed Media, and discover more about Cassia at cassiacogger.com.
Traveling may be one of the most fun ways to get creatively inspired. But you don’t have to go far to find travel art inspiration—I went to my local art museum and saw an Henri Matisse exhibit that filled my head with tons of ideas. A few days later I created a collage, and I can’t wait to show you how I made it, and what inspired me.
I love traveling and visiting different cities and countries, but it’s not always feasible to drop everything and go. When I get the itch for some cultural inspiration, I usually head for a museum. A couple of weeks ago I went to the Museum of Fine Arts, Boston, where I saw “Matisse in the Studio,” an exhibit that included some of the artist’s favorite objects that he often featured in his work, along with those works. Seeing the objects and the artwork was a revelation in so many ways, but I particularly fell in love with the artist’s intricate North African textiles designed with cutouts and appliques. I also developed a deeper appreciation for Matisse’s use of color and pattern, and how he fearlessly combined bright hues and wild designs to create coherent, beautiful masterpieces.
Here is one of the screens on display; I can’t even imagine the time it would take to sew this piece by hand:
And here is a detail of another textile:
The idea of creating a paper panel with cutouts started to gel in my mind; I started with a rough sketch to work out the main design, knowing it would likely change at some point.
I found some poster board that already had a polka dot design on it, and decided to use that as a substrate. I cut an 11″ x 14″ domed panel shape and stenciled a Moroccan design in areas with turquoise acrylic paint.
Following the sketch I created my own stencil, a six-petal flower that I sized to fit twice on the panel. The flowers were transferred on the back so they’d be easier to see.
The petals were cut out with a craft knife, and I also cut out two rows of small circles on the side borders of the panel. By the way, you’ll find great paper cutting tips and techniques in the Paperology column by Samantha Quinn in the July/August 2017 issue of Cloth Paper Scissors—I found them really helpful when cutting out the shapes. For example, as soon as your blade starts to drag, change it. Using fresh blades makes the job so much easier.
To emphasize the flower design, mimic the applique technique on the textile, and reference Matisse’s cut paper collages, I ringed the petals, the flowers, and the circles with more cutouts. I used a vibrant palette that reminded me of Matisse’s work, painting book pages with watered-down acrylic paint. I traced the petal shapes, then cut them using a craft knife and scissors. The book page cutouts were adhered with glue stick. I wasn’t going for perfection with the paper cutting; Matisse’s paper cuts are anything but exact, and I love the irregular, uneven look.
The petal shapes were used to further decorate the panel, and I machine stitched around them and the large circles with straight and zig-zag stitches to add texture, and as a nod to the stitching on the original panels.
As I worked on this piece I thought about a chapter in Nathalie Kalbach’s new book, Artful Adventures in Mixed Media, titled Visiting Art Museums and Galleries for Inspiration. Nathalie has fantastic tips for using artwork as inspiration, such as seeking a connection between you and the artwork, and actively observing the art in different ways. This passage really hit home with me: “Being inspired and influenced by the artwork of others is not the same as copying what you see. It’s about understanding why an artist’s work has been deemed worthy of space in a museum, figuring out what you find compelling, and then implementing those things in your own style, in your own work.”
What great advice for interpreting travel art inspiration, even in your own backyard! In addition to Nathalie’s book, check out the July/August 2017 issue of Cloth Paper Scissors, which is filled with terrific tips and techniques for sketching people at cafés, creating a pop-up studio, and creating mixed-media travel journals.
The most important thing I learned from this museum trip is to keep an open mind, because you never know what form travel art inspiration will take. Happy adventuring!
We’ve been talking a lot lately about artful adventures and creating art-on-the-go. In fact, it’s the theme of our July/August issue of Cloth Paper Scissors, on newsstands now. But what if you want to take the idea of art-on-the-go a step further. Say, with a traveling art studio? Artist Leoma Lovegrove did just that. Leoma’s main art studio is located on Matlacha Island in Florida, but she also has a fantastic mobile studio that she uses to stay inspired and create her vivid, colorful paintings on the road.
Take a tour of Leoma’s traveling art studio in this article from our Studios Summer 2014 issue:
Composition, Commitment, & Color by Leoma Lovegrove
MATLACHA ISLAND, FLORIDA
I began my painting career in my early twenties, and I’m still creating 48 years later. This much I know for certain: I need to paint, much in the same way birds need air space to fly.
My mother was a prolific artist. She painted, wrote poetry, played four musical instruments, studied pottery, and designed clothing. I grew up in a very creative environment and began to experiment with my own creativity at a very early age.
When I was in grade school, my art teacher recognized my aptitude for art. He invited me to spend time after class and experiment on my own. The next day, I was called into the principal’s office. My teacher was upset because I had used his entire supply of clay and filled the classroom with quite an assortment of my own creations. I just couldn’t help myself.
To this day, I am constantly creating something new using anything and everything within reach. People who know me joke that if you stand still for too long near me, you will become my next canvas. Creating gives me daily satisfaction. There is nothing more exciting than the opportunity to make a living by doing something each day that I am passionate about.
My main focus is on acrylic paintings that are both impressionistic and expressionistic. A lover of nature and wildlife, I live in an island paradise in Florida, and many of my paintings depict my natural surroundings. In particular, I enjoy painting the things that represent Florida itself, such as fish, birds, and outdoor landscapes.
I also paint patriotic pieces, such as American flags, September 11th memoranda, and pro-American scenes. Much of my inspiration comes from the experiences my parents had during WWII and from the profound impact September 11th had both on the nation and on me personally.
I enjoy taking simple materials and creating pieces that inspire others. I start with an idea, and then I commit to it while also being open to where the process itself will take me. It’s all about composition, commitment, and color. Just as with life, there is a beginning goal in mind and a certain amount of planning takes place, but what happens outside of the plan is often where the magic is. The same is true with my art.
My main studio is located on Matlacha Island in Florida, and my beautiful surroundings allow me to find inspiration daily. However, I also have a mobile studio that allows me to carry that inspiration with me when I am on the road.
My mobile studio is a 14-foot vintage camper from the 1960s. My husband and I originally bought it so that we could travel with our parrot, Solomon. Over the years, however, I found myself spending more and more time using it as an art retreat so that I could keep creating while I was on vacation. Eventually, it became a fullfledged traveling studio.
In my mobile studio, I like to surround myself with things that inspire me, such as photos, letters, inspirational quotes, and—of course—good music. I have filled the walls with both completed and in-progress artwork, and wearable art hangs in the closet.
My mobile studio packs a lot into a small space. The refrigerator stores paint and paintbrushes, the sink holds additional supplies, and the counters house vintage toys, fun souvenirs, and memorabilia. Palettes can be found all around the studio, along with canvases at various stages of “Leomitization.”
My mobile studio allows me to take my art to exhibits, shows, and personal encounters with art lovers. It also makes it possible for me to paint along the way and to participate in “Painting Out Loud” performances across the country. I love to travel, so my mobile studio could pop up anywhere. And if you see it around, chances are good that I’m painting somewhere nearby.
I partnered with Bealls Department Stores to launch an exclusive collection of resort wear, home goods, and other products. As a result, I’ve spent a lot of time on the road meeting Bealls staff and customers.
I love sharing my art in intimate settings as well as with large crowds, and having a mobile studio allows me to do both. As you can imagine, the colorful trailer can attract quite a crowd! Sometimes it even stops traffic—literally. People come up out of curiosity and stay for the fun.
Learn more about Leoma on her website: leomalovegrove.com