Stranded on a Deserted Island – My Top Mixed-Media Art Supplies

It’s National Craft Month and this year we’re celebrating with some serious blog inspiration. When asked what craft we would take to a desert island, we couldn’t pass up a chance to share Jodi Ohl’s list of island-approved mixed-media art supplies.  Also, keep reading to check out all the other blogs in our blog hop this month!


Over the years I’ve been asked several times, if I were stranded on a deserted island and could only bring a few art supplies, what would I bring? Seriously, just a few items? Could I not bring a box of tools? Admittedly my love for painting supplies knows no limits, with my collection of paints and assorted tools growing by the day to the point where my studio is about to burst at the seams. However, just like many of you, I do have my favorite tools and thought I’d share a few of them with you.

Also, if you’re just getting started painting or if you’re wondering what you should bring to a painting class, this should have you covered!

Mixed Media Artist Jodi Ohl
Visit Jodi at www.sweetrepeats.blogspot.com

Stretched Canvas:
My preferred painting surface is stretched canvas. The smaller profiles are less expensive and great to practice on, but watch out for canvases that are covered in thin material, which could easily puncture. Canvas boards—don’t waste your money on them, they warp easily and need to be framed if you do create something you want to display long-term.

Gesso:
Yes, I know most canvases are covered in gesso, or so they say. Gesso (affiliate link) is a primer that will give you a great ground to work on. It creates a barrier layer between the fabric of your canvas and your paint. I find that my paintings are brighter or richer (with a colored gesso (affiliate link)) than if I just paint directly onto a canvas. Gesso prevents the paint from seeping into the canvas, so you use less paint. It can also be a great first step of your textured layer.

Glazing Medium:
Since I paint in acrylics, I use glazing medium (affiliate link) a lot. It can be used in a couple of different ways: as a medium to keep your acrylics open longer (they won’t dry as quickly) and as a way to layer and create translucent paint without breaking down the pigments. Water can serve a similar purpose but will break down your paint and dry to a dull matte finish.

Mixed-Media Art Supplies - Ride Every Wave Example by Jodi Ohl
Ride Every Wave (mixed media) by Jodi Ohl

Acrylic Paint:
Professional grade paint such as Golden, Matisse, and Liquitex (affiliate links) are all favorite brands of mine but they’re a bit pricey. Here’s what I say about that: You get what you pay for. These paints will give your paintings more depth of color and you actually use less paint because the pigment load is so high. I have students who lament the fact that they can’t get their paintings to be bright as mine, but these students are using the inexpensive craft paint. Not to say that some craft paint isn’t good quality, but it tends to be more matte and have a lesser quality pigment load in them. Think of it as a set of bed sheets. You can buy the $4.00 pillowcases that work, or you can buy the ones with 400-thread counts. They work, too, but you can feel and see the difference in the products.

Brushes:
Use a variety of brushes that are mid-range in price for acrylic painting, such as this recommended beginner set (affiliate link). Stay away from the cheaper packages they will fall apart (bristle hairs in your painting) and not lend to smooth or precise strokes. I also encourage you to use a brush size that’s in proportion to the size of an area you’re trying to paint. For example, use a large flat or round brush for a large paintings or a background wash, then go down in size as you work on the details.

A good brush makes a difference.

Texture Tools:
Handmade items or items around the house, or island, work great (shells, leaves, combs, bubble wrap, old credit cards, skewers, etc.), and so do commercial items such as stencils, stamps, or Catalyst blades (affiliate link). These are just some of the examples of what can help you achieve great mark making in your work.

Drawing Material:
I love Neo-Color II crayons, Stabilo Pencils (affiliate links) in black and graphite, chalk, charcoal, woodless graphite pencils, and markers or pens by Pitt, Prismacolor, and Sharpie (to name a few). See—it’s hard to narrow down my favorites!

Other Must Haves:
Baby wipes (to clean hands, wipe away mistakes, wipe off brushes), soft gel medium, assorted papers, 3-sectioned water bucket (dirty, somewhat dirty, and clean water), hair dryer, apron, gloves (I don’t use them as much as I should), and lastly, a sense of adventure!

This list should help get you started gathering supplies for your next painting adventure, whether it be on an island, at your home studio, or wherever your painting takes you!

~Jodi Ohl

Check out more from Jodi in our shop:


More About Our National Craft Month Blog Hop

For those of you that aren’t familiar, a blog hop is a group of blogs that participate in writing around a shared theme. You can then hop from blog to blog to learn and explore all sorts of new ideas and perspectives.

Our group decided to throw a blog hop in honor of National Craft Month, and this year our theme is “What craft would you take to a desert island?”. On each day listed below, visit that website and scroll through the most recent blogs posted until you find the latest blog hop post. Click and enjoy hopping around!

March 1 – Interweave.com
March 4 - Sew Daily
March 7 - Crochet (Interweave)
March 11 - Jewelry (Interweave)
March 13 - Weaving (Interweave)
March 15 - Cloth Paper Scissors - You are here!
March 18 - Knitting (Interweave)
March 20 - Spinning (Interweave)
March 22 - The Quilting Company
March 26 - Needlework (Interweave)
March 27 - Beading (Interweave)

Originally published September 5, 2014, updated and reposted on March 15, 2019.

Texture & Layers with Paint and Stencils

It’s National Craft Month! And in honor of all things crafty, we’re excited to take part in the Interweave blog hop. When asked what craft we would take to a desert island, of course the Cloth Paper Scissors team started thinking about Lisa Kesler’s highly textured multi-media project, which uses handmade stencils and found objects. Imagine yourself creating this textural masterpiece in an art hut in the tropics, with objects you find on the beach!


I used to think of myself as a watercolorist. I had the idea that you were supposed to specialize in a certain technique and label yourself accordingly. But after working for a large collaborative art studio that produced a variety of decorative art for furniture stores, department stores, and interior designers, I quickly let go of my self-imposed label. Provided with all of the materials, supplies, and studio space I needed and a task to be as innovative as I could, I did a lot of experimenting and began thinking of myself as simply an artist. From that point on, I have enjoyed taking traditional techniques in new directions.

My most recent paintings incorporate a richly textured surface, many layers of paint, simple shapes, and colored pencil highlights. I love watching the painting take shape as I build up the layers of texture and paint.

textured multi-media
“White Flower on Brown” • 12″ square

Materials

  • Hardboard panel, flat or cradled with sides (I use Ampersand™ Gessobord™; Masonite® sealed with gesso is another option.)
  • 3″-wide masking tape
  • Tracing paper
  • Pencil
  • Graphite stick or very thick, soft lead pencil
  • Ballpoint pen
  • Craft knife
  • Acrylic Molding Paste by Golden Artist Colors®
  • Plastic scrapers or small pieces of stiff cardboard
  • Found objects: bits of corrugated cardboard, bottle caps, jar lids, etc.
  • Assorted acrylic paints (I use matte acrylics.)
  • Paintbrushes: 1⁄4″–1″ wide, flat
  • Colored artist pencils (I use Prismacolor® pencils.)
  • Liquitex® Satin Acrylic Varnish optional

Optional

  • Painter’s masking tape
  • Palette
  • Brayer
textured multi-media
“White Leaves on Green” • 10″ square

Preparing the Surface

I make my textured paintings on hardboard panels like Masonite or Gessobord. The hard surface holds up well to the texture I apply. I like to use Gessobord because it is already primed. If you use an unprimed surface, such as Masonite, it will be necessary to seal it with a few coats of gesso before beginning your painting. If you are using a cradled Gessobord (a board with sides), cover the sides with painter’s masking tape to protect them and keep them clean.

Applying Texture

1. Completely cover the painting surface with strips of 3″ masking tape, each strip touching the next so that the entire surface is covered.

2. Using a piece of tracing paper the same size as your surface, make a simple drawing using basic shapes. The shapes can be abstract or realistic, but they should be silhouettes without a lot of detail.

3. Turn the drawing over and trace over the lines on the back with a graphite stick. Flip the drawing back over, so the right side is facing up, and place it on top of the tape-covered surface.

4. With a ballpoint pen, firmly trace over the outlines of a couple of shapes in your drawing. This transfers the outline of these shapes onto the tape-covered painting surface. The rest of the drawing will be transferred later.

5. Cut around the transferred shapes with the craft knife and peel off the background tape around them, leaving the tape shapes still on the surface of the board.

6. Apply the molding paste with a plastic scraper or a strip of cardboard to add texture to the background. It can be applied in any thickness, but I usually vary the thickness from about 1⁄16″–1⁄8″. Spread the paste over the entire surface using light pressure.

Note: As I drag the scraper across the surface, I am careful to allow some unevenness to remain. I may even leave a few little areas uncoated.

7. Stamp a few of your found objects into the surface of the molding paste while it is still wet to add more interest and texture. I like to use a variety of items. These marks will show in the background of the finished painting.

8. Peel up the remaining masking tape, revealing the recessed shapes. Allow this layer to dry completely, 3–8 hours, before proceeding.

textured multi-media
Left: Texture applied with molding paste and a wash of acrylic paint colors. Middle: The bird shapes were created using stencil shapes cut from masking tape and applying molding paste through the stencil. Right: The bird shapes were painted with a brush and then, using another cut stencil, more paint was rolled on with the brayer.

Painting

1. Apply a wash of 3–4 colors of watered-down acrylic paint over the whole surface with a large brush. This paint layer can be very loose and even sloppy because most of it will be covered up with subsequent layers. Allow it to dry, which only takes about 20 minutes.

2. Choose the main paint color for your background and paint it on. I use a brayer for this step. I place a small dollop of acrylic paint on my palette and roll over it several times in each direction with a printmaking brayer until the brayer is evenly coated with paint. Using large strokes, I roll the brayer over the entire surface to apply an even coat of paint.

3. Reload the brayer (or brush) several times and continue applying paint until you are satisfied with the appearance. This is my favorite step because the details of the texture gradually begin to emerge as I roll paint onto the surface. At this point, I can see little bits of the first wash of acrylic colors showing through the texture.

4. After the first color dries, roll on 1–2 more compatible colors. Each additional layer of color will add to the overall richness of the background. Allow the paint to dry.

More Texturing

1. Cover the painting surface with strips of masking tape again, and transfer the rest of the shapes from your drawing onto the painting surface by tracing over the lines of your drawing as before. Cut these new shapes out with the craft knife, but this time peel up the shapes rather than peeling the tape surrounding the shape.

2. Apply molding paste to the new recessed shapes, being careful not to let the paste seep under the edge of the surrounding masking tape.

3. Peel up the background masking tape to reveal the raised, textured shapes. If any molding paste has seeped under the masking tape to cause irregular edges on these shapes, scrape it off while it is still wet with the tip of the craft knife. Allow the shapes to dry before proceeding.

4. Using a smaller paintbrush, carefully paint the raised shapes with a solid coat of acrylic paint. If I want the shapes to have the same layered appearance as the background, I mask around the shapes with more tape and then roll on 1–2 additional colors of paint with a brayer in the same manner used to paint the background, removing the tape once the paint is dry.

Finishing

1. When the paint is dry, shade and highlight the recessed shapes using colored pencils.

2. Apply a thin, even coat of satin acrylic varnish to the surface to seal and protect it.

Using texture and layers in your acrylic painting, you can create a surface rich with detail, color, and character that no other technique can duplicate. The process and materials become an integral part of the painting. Even with simple shapes and composition, your painting can become a complex brocade of rich surfaces and sumptuous fragments of color.

Featured Image: “Distant Flight” • 10″ × 20″


More About Our National Craft Month Blog Hop

For those of you that aren’t familiar, a blog hop is a group of blogs that participate in writing around a shared theme. You can then hop from blog to blog to learn and explore all sorts of new ideas and perspectives.

Our group decided to throw a blog hop in honor of National Craft Month, and this year our theme is “What craft would you take to a desert island?”. On each day listed below, visit that website and scroll through the most recent blogs posted until you find the latest blog hop post. Click and enjoy hopping around!

March 1 – Interweave.com
March 4 – Sew Daily
March 7 – Crochet (Interweave)
March 11 – Jewelry (Interweave)
March 13 – Weaving (Interweave)
March 15 – Cloth Paper Scissors
March 18 – Knitting (Interweave)
March 20 – Spinning (Interweave)
March 22 – The Quilting Company
March 26 – Needlework (Interweave)
March 27 – Beading (Interweave)


Remember to pack your project ideas!

Rosie the Art Busy, Carrie Schmitt

Awakening Your Creative Soul: Follow Your Heart in the New Year

When one year comes to a close, an exciting vibe for possibility in the new year fills the air. When the clock strikes midnight, we start fresh with resolutions and promises to be better in a myriad of ways. Many artists promise to create/draw/paint/sew something new every day or week, or to learn a new technique. I’m excited about the idea of drawing more and keeping a visual journal in the upcoming new year.

Whatever your artistic plans are for 2019, Carrie Schmitt’s Rosie the Art Bus is sure to give your creative juices a jolt. Read on to learn more about Carrie’s artistic passion and ways to awaken your creative soul, from the Winter 2019 issue of Cloth Paper Scissors.

Rosie the Art Bus: A Reminder to Follow Your Heart

Carrie Schmitt
Carrie Schmitt. Photos by Michael Sladek Photography.

By Carrie Schmitt

For better or worse, I always follow my heart. I know that following my heart and doing wildly impractical things is my genius. It has allowed me to make a living as an artist and take risks without fear of failure, including recently converting a 2002 Blue Bird® short school bus into a mobile art studio and traveling storefront that I’ve named Rosie the Art Bus.

I bought Rosie after searching unsuccessfully for an affordable studio in the Seattle area. She was not without challenges: I invested in renovating the interior, including new fl ooring, a generator, air conditioning and heating, and a sink and water system. However, even with these upfront costs it was still less expensive than one month’s rent at a retail space near where I live.

Rosie the Art Busy, Carrie Schmitt

Now that the renovation is complete, I enjoy painting in the bus and on the rooftop deck. I invite local musicians to join me to celebrate and share the arts. Rosie encourages the community to experience the creative process and shows that arts are a viable and rewarding profession. I want people of all ages to see that artists live here, and that we’re part of the community. I also want to share my creative process because it’s fascinating and inspiring.

Rosie the Art Bus, Carrie Schmitt

I’ve made incredible connections with people of all ages because of Rosie. My art bus reminds me that it is not only okay to follow your heart and live life on your own terms, but it is beautiful. As Vincent van Gogh said, “Normality is a paved road: It’s comfortable to walk, but no flowers grow.”

Learn more about Carrie on her website and with the resources below. Plus, follow her on Instagram at @carrieschmitt for endless inspiration.


Experience the 52-week-long Awakening Your Creative Soul, and discover more from Carrie Schmitt!

Tennessee is just one of the many places Mou called home, celebrated in this mixed-media piece. Photos by Sharon White Photography.

Cloth Paper Scissors Winter 2018 Online Extra: Mou Saha’s Home States Art

Mou Saha has called many places home. Growing up in India, she then moved across the world to the United States, and that was just the beginning of her journey. At each place, she set down roots and made a home. In the Winter issue of Cloth Paper Scissors, Mou shares a mixed-media project she created and designed, using state maps to commemorate her homes.

Tennessee is just one of the many places Mou called home, celebrated in this mixed-media piece. Photos by Sharon White Photography.
Tennessee is just one of the many places Mou called home, celebrated in this mixed-media piece. Photos by Sharon White Photography.

We share a few of her home-inspired pieces here, but check out the winter issue to get the techniques she used to create these keepsakes.

A variety of techniques and materials come together to create texture and interest in these colorful mixed-media maps.
A variety of techniques and materials come together to create texture and interest in these colorful mixed-media maps.

See more inspiring art in the Winter issue of Cloth Paper Scissors!

faux resin paper accordion books by Gwen LaFleur, Winter Cloth Paper Scissors

Cloth Paper Scissors Winter 2018 Online Extra: Faux Resin Paper with Gwen LaFleur

In the Winter 2018 issue of Cloth Paper Scissors, Gwen LaFleur shares her technique for creating faux resin paper. She turns the pages into magical accordion books with each page a window to the next.

faux resin paper: A stamped background, brightly colored motifs, and a hand lettered quote make this faux-resin page pop. Photo by Sharon White Photography.
A stamped background, brightly colored motifs, and a hand lettered quote make this faux-resin page pop. Photo by Sharon White Photography.

“I love making art journals and artist books. Including window pages is one of my favorite ways to add visual interest,” LaFleur writers. “Last year, I started making resin paper to create window pages. The papers were almost perfectly clear and very beautiful. But the process of making them was long (24 hours or more), frequently messy, and required a good amount of space to spread out the curing papers.

faux resin paper accordion books by Gwen LaFleur, Winter Cloth Paper Scissors
faux resin paper accordion books by Gwen LaFleur, Winter Cloth Paper Scissors

“I devised a fairly simple process. I was happy with both the visual and tactile results, as well as the much shorter timeframe required. My faux resin paper technique has the added benefit of involving drying rather than curing, so you can store any leftovers.

faux resin paper: This stamped and stenciled faux-resin page is adorned with fabric trims and embellishments. Photo by Sharon White Photography.
This stamped and stenciled faux resin paper is adorned with fabric trims and embellishments. Photo by Sharon White Photography.This stamped and stenciled faux-resin page is adorned with fabric trims and embellishments. Photo by Sharon White Photography.

“To showcase these translucent papers, I created a simple accordion-bound art journal. I turned every other page into a frame where I could add a faux resin window. The result is a unique handmade book that provides beautiful layered effects, blending each spread with the page behind it.”

Enjoy this sampling of Gwen’s faux resin paper books. Then refer to the Winter issue of Cloth Paper Scissors for her complete tutorial to make your own.

"faux

Try this tutorial on our sister site, Interweave Jewelry, for making resin paper similar to Gwen’s results.


Discover more fun ways to use paper with these resources!

Detail from "Ocean View" by Jean Pederson. Photo by Key West Fine Art Photography and Printing.

Cloth Paper Scissors Winter 2018 Online Extra: Jean Pederson in Key West

Allow yourself to go beyond your traditional artistic practice, and you may be amazed at what you discover. In the Winter issue of Cloth Paper Scissors, mixed-media artist Jean Pederson talks about how tuning in to your surroundings can change your art. Join her on a journey of self-discovery during a month-long artist residency in Key West.

Detail from "Ocean View" by Jean Pederson. Photo by Key West Fine Art Photography and Printing.
Detail from “Ocean View” by Jean Pederson. Photo by Key West Fine Art Photography and Printing.

“It doesn’t take much to change your perspective,” Jean writes. “It is a matter of looking around and really seeing what’s there. Check out the areas near your home. Look around while waiting at a stoplight or riding a bus. You go by this scenery every day, but do you really see it? Noticing a garden exists is different from knowing what flowers are in that garden or what colors dominate. Inspiration is everywhere. It’s just a matter of taking the time to notice.

“Sun Kissed” by Jean Pederson, 30" x 40" Photo by Key West Fine Art Photography and Printing.
“Sun Kissed” by Jean Pederson, 30″ x 40″ Photo by Key West Fine Art Photography and Printing.

“While exploring the island, I kept looking at the effect of light and shadow on objects, and sea grapes captured my interest. The sea grape has thick round leaves in a variety of colors, including plum, gold, amber, and green. The sea grapes and their patterns of light and shadow caught my eye, and I decided they would be the subject of my painting.”

“Untitled” by Jean Pederson, 36" x 44" by Key West Fine Art Photography and Printing.
“Untitled” by Jean Pederson, 36″ x 44″ by Key West Fine Art Photography and Printing.

Did you enjoy Jean’s paintings inspired by her surroundings? Then check out the winter issue for more of her inspiring artwork!


Begin your journey of self-discovery!

papercuts by Mirjam Keune from Winter 2018 Cloth Paper Scissors. Photos by Mark Elson.

Cloth Paper Scissors Winter 2018 Online Extra: Festive Papercuts

In the Winter 2018 issue of Cloth Paper Scissors, Mirjam Keune shares her magical papercuts. With her simple folding technique, you’ll get a perfectly symmetrical design. No matter what your cutting or drawing skill level is, you’ll be pleased with the results. These papercut designs are a perfect personalized gift for the holidays.

papercuts by Mirjam Keune from Winter 2018 Cloth Paper Scissors. Photos by Mark Elson.

“I am a fervent letter writer. I often decorate the envelopes, which is how these papercuts came to be,” Mirjam says. “Having a soft spot for the beauty of butterflies and moths and a love of painting and drawing, I combine these elements in my designs.”

papercuts by Mirjam Keune from Winter 2018 Cloth Paper Scissors. Photos by Mark Elson.

Symmetry is the key in these colorful designs.

papercuts by Mirjam Keune from Winter 2018 Cloth Paper Scissors. Photos by Mark Elson.

“What makes these watercolor papercuts quite magical is that, with a simple folding technique, you end up with a perfectly symmetrical design. Your cutting or drawing skill level doesn’t matter. The repetition of the design gives a uniform feel to the overall piece.”

papercuts by Mirjam Keune from Winter 2018 Cloth Paper Scissors. Photos by Mark Elson.
Birds, flowers, trees, and a tall house cut from book text make for interesting designs.

Photos by Mark Elson.


See more of Mirjam’s work and other inspiring designs in the Cloth Paper Scissors Winter 2018 issue.

online extra: monograms and lettering Christmas monogram

Cloth Paper Scissors Winter 2018 Online Extra: Monograms by Laura Lavender

In her “Holiday House Monogram” article in the Winter 2018 issue of Cloth Paper Scissors, Laura Lavender shows how to make a lovely gift with monograms. She discusses various monogram styles and shares a variety of samples.

Here, we’ve provided two sample alphabets to use with her techniques, along with a couple of monogram designs to try.

online extra: monograms and lettering
Enhance the elegance of your hand-lettered monograms with this font.

 

online extra: monograms and lettering
This lettering style will add Victorian flair to any monogram.

 

online extra: monograms and lettering Christmas monogram
Elegant script is combined with hand-drawn foliage for this holiday-inspired monogram.

 

online extra: monograms and lettering
A hand-drawn compass is home to this elegant two-letter monogram.

Art and photos by Laura Lavender.

Do you like to put your own personal letter on your items? Try Fabulous Fabric Journal Pages.


Master monograms with the Winter 2018 issue of Cloth Paper Scissors and other lettering resources!

cut-out holiday book

Cloth Paper Scissors Winter 2018 Online Extra: Holiday Cut-Out Book

In the article “At Home in the Wild” in the Winter 2018 issue of Cloth Paper Scissors, Lisa Ellen Evola shows how to make a nature-inspired book with cut-out pages. Instructions for how to bind the book are included in the article; the diagrams one and two provided here illustrate how the two signatures are sewn into the cover.

cut-out holiday book
The opening pages invite you to look inside and share a family’s holiday.

Lisa’s handmade journals tell stories of her experiences, both real and imagined. In the Winter 2018 issue, she shares an adventure she had in the wilds of northern Michigan.

cut-out holiday book
Intricate cutting provides a peek of the scenes to come.

Here we share pages from a holiday-inspired book Lisa created, featuring the same techniques.

cut-out holiday book
Layer upon layer of color and holiday imagery draws the viewer in.

Photos by Sharon White Photography.


Have fun making more holiday books and other holiday projects!

detail of “Open” by Mystele Kirkeeng.

Cloth Paper Scissors Winter 2018: Artist Profile: Mystele Kirkeeng and Abstract Faces

Mixed-media artist Mystele Kirkeeng paints abstract figures and faces that convey an abundance of emotion. The story and art of this self-taught folk artist captured our interest and inspired us. Enjoy this sneak peek, and get the Winter issue of Cloth Paper Scissors to enjoy the full artist profile.

ABOVE: detail of “Open” by Mystele Kirkeeng.

“A Little Hope” by Mystele Kirkeeng.
“A Little Hope” by Mystele Kirkeeng.

Here are a few bonus questions, along with several examples of Mystele’s amazing artwork.

Cloth Paper Scissors: Do you see any of your early work mirrored in your current work, or has your work evolved to the point that the earliest influences have been erased? What prompted the evolution of your work?

Mystele: The strongest influence I carry from my older work is the freedom of exploration and an affinity for imperfection. I don’t know what I’d do if that sense of naiveté and “well, shucks” attitude was stripped from me. I have traveled lots of mixed-media roads since 2008 and have tried different aspects of creative expression for making faces and painting figures. Yet, I keep coming home to how it all began—just look in the paint and let the marks guide the painting. I shake it up sometimes, using reference images or social commentary, but mostly I just enjoy the process and the absolute surprise of where it leads me.

“Beauty for Ashes” by Mystele Kirkeeng.
“Beauty for Ashes” by Mystele Kirkeeng.

CPS: Do you ever look at a blank canvas and not know where or how to begin? If so, how do you get started?

Mystele: No, I don’t see a blank canvas in this way. When I look at a blank surface, I hear an invitation to create, to explore, to wander and try. I’m not a perfectionist when it comes to art making, so the beginning is always incredibly exciting to me. I just start with some kind of marks made with whatever I feel like grabbing (collage, paint, crayons, etc.), and get going. There are times when I limit my color palette, decide that I’m going to bring out a certain image from my marks, or use specific media.

“Imago Dei Trumps” by Mystele Kirkeeng.
“Imago Dei Trumps” by Mystele Kirkeeng.

CPS: Tell us about your workspace and how, if at all, it has changed.

Mystele: My workspace changes almost daily. I was a compulsive nester before I started painting; I love to rearrange things. The one thing that never changes in my workspace is a sense of flow. I have to have easy access to everything that I normally use, or I feel stifled. I like having things in their place, but my studio isn’t spotless, and like it that way.

“Let Them Drink Tea” by Mystele Kirkeeng.
“Let Them Drink Tea” by Mystele Kirkeeng.

CPS: You’ve mentioned using musical references when teaching painting and that your music experience helps you figure out what comes next. Do those references always resonate with your students? How are they beneficial?

Mystele: Music is a universal language, and most of us know what it means to be moved by it. We can tell when music just sounds pretty versus when it actually says something to us. I would much rather listen to a mediocre musician who has the ability to communicate than one who is highly skilled but unable to connect with the listener. Of course, it’s super when the musician’s skill and ability to communicate work together. This idea often helps my students as they fight through the urge to paint something nice or crowd-approved, versus something meaningful and authentic.

“Open” by Mystele Kirkeeng.
“Open” by Mystele Kirkeeng.

CPS: What is your approach to trying new techniques and new supplies?

Mystele: At this point, I only incorporate new techniques if I feel they will enhance my creative voice. I have to feel drawn to them. If I am, I just start working with them and see how they blend with my visual language over time. New supplies are few and far between nowadays, but the same answer applies.

“Proverbs” by Mystele Kirkeeng.
“Proverbs” by Mystele Kirkeeng.

Art and photos by Mystele Kirkeeng.


Love Mystele’s faces! Try your hand at painting faces with these resources: