WELL PLAYED

Graphite and fluid acrylics on Yupo with added texture from stamping gesso first.  Lots of fun!

I’ll be teaching this process in March, 2021.  See side bar for more info.

YUPO and French Cooking!

This array of cooking utensils is put to hard work when we are at our workshop in France.  Next year we will be there in October,  painting in the studio as well as on site, but always coming back to LVC for delicious meals.  It is the best!!!
"COOK'S QUARTERS" Fluid Acrylics and watercolor on YUPO 26x40"
 

YUPO WORKSHOP IN FRANCE

Our workshop is beginning to fill up for next year's French workshop.  The processes shown here will be shared during our eleven days at Le Vieux Couvent.  We'll be exploring YUPO in many unique ways.

This is from one of the villages in the beautiful Dordogne region, so picturesque and paintable! 



'St. Emilion'  Watercolor and Fluid Acrylics on YUPO 26 x 34"

WORKSHOP WASH

 

Painted on Yupo with fluid acrylics, this painting shows wash day in Le Vieux Couvent in France.  Lisa, Leslie, and Paula headed back to the studio to paint as soon as the laundry was hung to dry. 

Next September we will be painting on Yupo, also known as Lana Vanguard in Europe, for the eleven days we are in Frayssinet.  Sooo many possibilites and creative adventures abound when we paint on Yupo!  For more workshop info, please contact Sandy.

"WASH DAY"  Fluid Acrylics on Yupo 19 x 19"

TAPE BATIK IN FRANCE

Capturing a feeling is what many artists, including myself, hope to do when creating a painting.  The casual French country gardens at Le Vieux Couvent in France were so inviting and intriguing.  On every path there was a new surprise, and exploring the gardens was always inspiring.  

"PATHWAY"
Watercolor on 140# Arches
15 x 22"

This scene, from a photo taken during this year's French workshop, shows some of their ancient steps as well as the charming, natural beauty of the area.  Capturing the feeling of really being there still eludes me, though.  Using my tape batik process, I painted the picture after I was back in the states. 

Next year's French workshop will be in September, perfect timing for all the grapes growing at LVC.  Everyone speaks English so comminication was easy, too.  The meals were the BEST ever ever ever, and we were so well taken care of.  It was a total immersion into 10 days of creativity.

Can't wait to return.  Please contact me if you would like to know more about this future workshop --- see the side bar on the right.  Being there was incredible!!!!!!!!!!

YUPO in FRANCE

 

"CREATIVITY IMMERSION" Fluid Acrylics and transparent Watercolor on YUPO 26 x20"

Last month, our YUPO workshop in Frayssinet, France was an experience of a lifetime.  And I'll be going back in Septemebr of 2013 to teach another workshop there. 

Words cannot describe!  The location, so French country; the studio, excellent; the accomodations, superb in a finely refurbished ancient convent; and the food!  Unsurpassed!!!  Each and every meal was delectable, presented so beautifully and so delicious!   French gardens, a pool for an afternoon dip, a lilypad pond to enjoy while reading a book or sketching, flowers, a courtyard for our lunches and late afternoon apertifs'.  Life was so good.  Can't wait to return.  Each of us felt like we had been totally immersed into ten glorious days of creativity.

Email me at sandymaudlin@gmail.com to find out more about the workshop experience for next year. 

COLLECTIONS EXPLORED

For our workshop at Kanuga last week, in North Carolina, we were to bring something we collected or at least pictures of what we collected.  It's GIRAFFES, of course, for me.  Our assignment the first day was to use something from our collection and meld it into a painting to include something from nature from Bruce's unique collection - of bones and shells of animals. 

Below is my result.  A turtle shell, with beautiful markings on it, combined with my marble giraffe from Italy, with no spots on her and a broken leg (later super glued back together.)

We let our imaginations take over as we developed our pictures.  This is YUPO collaged onto YUPO, with fluid acrylics, watercolor, and watercolor pencil.  FUN!  My Tape Batik process was also used for layering the first four washes.  The Independent Layering Process helped add to the finished effects.

"SO ALIKE; SO DIFFERENT"  Fluid Acrylics, Watercolor, Alcohol, Watercolor Pencils on YUPO 14x20"

NATURE TO ABSTRACT - the Beginning

Getting to take a workshop instead of give one is like receiving a gift.  Last week was a glorious week spent in the Blue Ridge Mountains in North Carolina at the Kanuga Watermedia Workshop.  Bruce Bobick was my instructor for the first four days, and his class had a huge impact on my art and my life. 

This is my painting for the second assignment we were given.  Each day we received at least one new challenge to provoke our thinking and our approach to creating meaningful art.

More to come soon.  

"GOLDIE"  Fluid Acrylics on YUPO  12 x 20" COLLECTED

YUPO WORKSHOP RESULTS

Last month nine artists explored new ways to handle paint on YUPO.  We painted for three days, and after watching my demos, each artist jumped right in, creating unique, beautiful works of art.  Below you'll see the results.  It was so exciting to watch as everyone explored what they could create on this wonderful, slippery surface.

Some pieces would still be worked on after the workshop, too.  I think you will enjoy the diversity and talent of this show of their awesome work.........

Fluid acrylic and watercolor on YUPO by Diane Kiemeyer

Fluid acrylic and watercolor on YUPO by Carol Schmidt

Fluid acrylic and watercolor on YUPO by Karen Goldstein

Fluid acrylic and watercolor on YUPO by Bonnie Rupe

Fluid acrylic and watercolor on YUPO by Suzanne Giltner

Fluid acrylic and watercolor on YUPO by Kathy Wirth

Fluid acrylic and watercolor on YUPO by Kathy Sarlo

Fluid acrylic and watercolor on YUPO by Lorri Davis

Fluid acrylic and watercolor on YUPO by Mike Impink

Fluid acrylic and watercolor on YUPO by Carol Schmidt

Fluid acrylic and watercolor on YUPO by Mike Impink

Fluid acrylic and watercolor on YUPO by Lorri Davis

The workshoppers in action

Fluid acrylic and watercolor on YUPO by Kathy Sarlo

Fluid acrylic and watercolor on YUPO by Mike Impink

Fluid acrylic on YUPO by Mike Impink

BONJOUR!

This painting is on a half sheet of Arches cut lengthwise to make it 30" wide by about 12" high.  First the paper was covered with a liberal amount of gesso, then wax paper was gently placed on top of the wet gessoed surface.  I made sure the wax paper made contact with the gesso everywhere before quickly lifting it all off.  Leave it on only long enough to make contact with the wet gesso.  You'll create some wonderful and unpredictable textures on the gesso.   After it dries, if the texture is too strong, use a fine sand paper to buff off the peaks of the hardened gesso. 

After the gesso dried overnight, the whole paper was painted with juicy watercolors that flowed freely into each other.  The wet paint did the work, not the brush, of mixing the colors.  The goal was to completely cover the page with several colors that were all similar in value - a medium to medium light value.  Some color areas remained pure, but many areas were a blend of three or four colors.  This dried overnight, too, before going on to the next step.  

Next the images were drawn over the painted paper.  Avoid erasing.  Using a light box is probably the ideal way to transfer a drawing onto gessoed paper, since transfer paper doesn't 'hold' or copy very well on the rougher surface. 

Using a flat brush, I lifted out the areas that needed to be white or lighter than the existing paint values.  It's easy to lift watercolor off of gessoed paper using a thirsty flat brush or even a scrubber brush.  Soft edges can be made according to the pressure of your brush, and hard edges are easy to establish using a scrubber.  Some areas will not revert back to pure white because of the staining nature of some colors.  The pencil lines defining the edges of the white shapes also should removed. 

In this painting the whole sky area was lifted, as well as many highlights in the water.  The way the paint lifted (or didn't completely lift out) of the sky added a perfect touch to that area.  The tree truck was also lifted off as well as a few building areas.

After the lights and whites were lifted, it was time to paint in the darker values.  The middle values of the painting, which are usually more than half of many paintings, have already been painted during that first application of paint.  These beautiful areas are best left untouched as much as possible.  

Watercolor on gessoed paper

Once the darks are in place, the painting is nearly completed.  Several roofs were darkened as well as spires and the shadows under the bridges.  The green of the trees was also added.  A few tweaks here and there was all that was needed to call it done. 

That initial juicy, free flowing wash lends a stunning glow to the painting that 'brushed on' paint cannot give.  All the middle values in the buildings, bridges, and the river are part of the initial wash.  The blend of that inital wash is so gorgeous, and the unusual way those first colors mix adds mystery to the painting.

This basic gessoed techinique was developed by Don Getz many years ago, and I've added some of my own adaptations along the way.  Try it.  It's a little bit of thinking backwards, and a lot of fun to do. 

If you're one of the artists planning to be at my workshop in August in France, (see sidebar) you'll be able to perfect a similar process with fluid acrylics on a textured but slicker surface during part of ten days we paint together.    
"BONJOUR"  Watercolor of Gessoed Arches 140#CP 30 x 12"

EXCITING WORKSHOP IN FRANCE

Here is the long awaited info about the summer workshop in France.  We'll be painting everyday with frequent critiques and plenty of individual attention to discuss your progress.  The studio on location opens out into a garden ready to be painted, too.  Here is the info-----

Creating Batik Effects in a French Landscape

Artist Openings Available - France Workshop @ Le Vieux Couvent
Aug 25 - Sept 4, 2012 with Art Instructor Sandy Maudlin
....... Hold your spot with only a $500 Deposit !

Discover the beautiful and charming hamlet of Frayssinet, France, with me this summer.

We will have exclusive use of Le Vieux Couvent (LVC), a lovely 17th century former convent, now tastefully restored as an artists' retreat country inn, nestled between the Dordogne and Lot valleys.  Le Vieux Couvent is an ideal sanctuary for artists with its hidden gardens, terraces, and pools.  What an inspiring place to be even more creative!!!

I'm excited to be able to share with you many unique techniques for painting original wax-free, batik-style paintings. We'll also enjoy excursions of half and full days for painting, touring the caves or area attractions, plus shopping at local markets.  Imagine returning to LVC's courtyard for gourmet dining and local wines after a gratifying day of painting.....quite simply, creative bliss!  And the large, well lit studio is open 24 hours a day!



Above - batik-like painting of a French courtyard

Full details for my LVC workshop are available at http://www.vacancesenvie.com/ (under Creative Holidays) or contact our U.S. Representative for a copy of my eBrochure.

Kristin Smith Procter - dancingsun404@yahoo.com 715-442-4494

(Kristin is available for registrations and questions.) See more at Vacances en Vie - Le Vieux Couvent Holidays http://www.vacancesenvie.com/

YUPO WORKSHOP

This weekend will be full of creativity during our YUPO workshop here at my studio.  Artists who have struggled to paint on this slick surface will find success as they enjoy a colorful adventure.



"Donkey Man 2012"

Watercolor and Transparent Fluid Acrylics on YUPO 20 x 26" COLLECTED

This first painting is a new edition of 'Donkey Man," a subject I've always been fascinated with and have attempted several times.  Two other paintings of Donkey Man are below this recent one, both done many years ago.  The first two here are on YUPO and the last one is a batik on rice paper. 

There are good things about all three paintings, I suppose, but I prefer the most recent one because there is a bit more mystery, better temperature dominance, and a surer stroke with the brush. 

Donkeyman 2002 Watercolor on Yupo 25 x 13"
COLLECTED

YUPO, also called 'Lana/Vanguard' in Europe, is an amazing surface to paint on.  It's much like a gessoed canvas, just slicker.  The textures and colors are absolutely fabulous on this non absorbent surface but handling the paint takes some expertise and a bit of instruction. 

We'll be exploring a new technique that we've decided to call 'Independent Layering' in the workshop, which was used to create the most recent Donkeyman.  It will be a good weekend! 

DONKEYMAN BATIK - Watercolor and
 Fluid Acrylics on Kinwashi Rice Paper -
COLLECTED







WEEKEND WORKSHOP STOCKING STUFFER

On Friday, February 25, we'll be starting a three day workshop here in my studio, featuring the process of 'tape batik,' as well as the hot wax batik process with watercolor. Cost is $225 for the tape batik class and $240 for the hot wax session. Each artist will develop and create original watercolor paintings, using this unique process. Any subject matter will work for 'tape batik,' as well as the hot wax process.

I started developing the tape batik process about 20 years ago, partially because I love the look of batik. No hot wax is involved, only some serious planning and lots of taping. We'll use plain old masking tape, though the specific brand is somewhat important. Each artist may choose whether to work with watercolor paints or fluid acrylics.

Below are several examples of my tape batiks,' some on Arches, some on YUPO. During the workshop, either surface can be used. The workshop will include 3 very full days of instruction along with a valuable critique session. It will be held here in my studio near Cincinnati, Ohio. Add this to your Christmas list for sure! Email me - sandymaudlin@gmail.com - for more info. I'll post some hot wax batik paintings soon, also.

WAX BATIK WORKSHOP

This weekend 11 artists took on the challenge of creating wax batiks with watercolor and sumi ink. We really put the hours in here at my studio, with each woman creating her own original batiks, planning the works from initial sketches to the final painting process. The majority of the workshoppers were able to get the layers of wax ironed off before they left on Sunday evening but still had adjustments to make before calling the paintings complete. Therefore, there are none of their paintings to show on this blog yet. Hopefully when they email me the finished work for critique, I can post some of them. Their work included a wide range of subject matter, and it was exciting to see the paintings develop.

We used several kinds of washi/rice papers, and my demo batik was done on Thai unryu paper, which I frequently use for wax batik and watercolor. However, this time the sheet shredded in some areas. Frustrating. Possibly the vat where the paper was handmade, in Thailand, didn't get enough pulp in it to make my sheet of paper an even thickness. I really don't know for sure why it shredded, but I was thankful that it didn't happen to anyone else in the workshop.

This is the finished painting, after it was glued down to w/c paper. Several tweaking adjustments were made after the paste dried. The way it looked (before paper repairs) is shown below - notice the holes in many areas. When wet, most rice papers tear fairly easily along an edge if they are picked up, but these areas happened as soon as I put the paint brush on the paper. It was like the paper dissolved in spots. The holes got worse with each successive layer of paint, so I condensed the last three layers of paint into one final wash. Patching the holes was tedious, and one area still looks obviously patched.

The photo of the finished batik was taken outdoors after painting corrections were made, and the one with holes was taken under natural light in the studio, hence the slight color variation. The water and sky in the 'holey' photo depicts the water and sky colors more accurately than the first photo of the finished piece.

In late January, there will be a 3 day workshop here, and we'll all be using masking tape instead of wax to create the batik look. (See sidebar on right.) Late February is the next wax batik workshop here, for three days also, instead of two. Both workshops do have openings, but class size is limited. If you're interested, email me at sandymaudlin@gmail.com, and I'll send you the details.

Seen here - some of the workshop artists working on various steps of wax batik on rice paper..... Thank you all for a good weekend - looking forward to seeing your finished batiks soon. It was great painting together.

"SERENADE" Watercolor and Sumi Ink on Thai unryu paper, adhered to Arches 140#CP 16x22" COLLECTED

DOUBLETREE

The landscape outside my Doubletree Hotel last month in Dallas included a 'doubletree' that looked a little like this, twisting and reaching towards more light. This was painted using my 'tape batik' method on YUPO, with fluid acrylics. Lots of fun, especially when so many of the women at the workshop helped 'peel' the tape layers off to reveal the textures of the finished painting. This TAPE BATIK method is one I've developed since the mid 90's as a result of a Watercolor Society of Indiana workshop I attended with Al Brouillette. He used tape randomly to save shapes and create new ones. My thought was, "Why can't I paint a whole painting using tape to create the shapes?" It's been challenging and exciting to develop this process, and I love the fascinating batik-like textures that result.

Check out the new SPLASH book to see Monique Wolfe's results from one of the first workshops I taught regarding this technique. She's an excellent and accomplished South Carolina artist who quickly grasped exactly how to do this.

The painting of the 'doubletree' was done in Dallas for the experimental YUPO workshop there. A new painting is drawn on YUPO and ready to paint.....gotta go.

"DOUBLETREE" Transparent Fluid Acrylics on medium weight YUPO 26 x 20" COLLECTED

NICHOLAS SIMMONS

Last weekend my studio was electric with energy and creativity. Nicholas Simmons (website link) challenged us to try many new processes to develop our paintings. Nick had already taught a workshop here almost three years ago which was awesome, and since I'd done all the things Nick taught then and learned so much, I didn't anticipate painting as much this time. WRONG!

Nick (blog link) led us through four intense days, packed with exciting possibilities, showing us how he uses FLUID ACRYLICS and TRANSPARENT WATERCOLOR. It was impossible to tell the difference between the two mediums unless you rewet the paint to see if it moved.

This painting is one of many that I worked on in Nick's workshop. Staying up late at night to do our homework was a requirement that we didn't know about ahead of time... but worth the effort.

And here is a 'newly painted' wall in my studio, painted by the 18 people who were here. The actual paintings that resulted from this artsy wall were astounding. Most remembered to sign their names somewhere on the wall, too. A taped up sheet of plastic with towels under it caught the paint as it flowed to the ground, but we still managed to add color to the studio's concrete floor. Think I may have to frame the wall.....

Nick's teaching skills are only surpassed by how well he paints. THANKS SO MUCH, Nick, for an awesome and incredibly great four days. Nick will be returning for another four day workshop here in 2012, beginning on Sept. 28 going through Oct. 1. A couple of people have already put a deposit down for their spot in the workshop! They'll be glad they did.

Nick's not making coffee in these cups, but getting ready to paint a new painting. He uses Da Vinci brand paints, both watercolors and fluid acrylics, and knows how to make them look so good on paper. The previous workshop with Nick was dynamite for sure. In my opinion, it was on top. This workshop was actually even better. Nick's a natural teacher, able to convey ideas and processes in a fluent way, while staying in touch with what the class and individual artists need. He's an amazing guy. Everyone went home with tons of notes and exciting possibilities to explore. It was a great workshop. Thanks goes to all who were here for helping make this workshop a wonderful success.

BATIK WORKSHOP DATE CHANGED

The wax batik workshop, originally scheduled for September, has been changed to Nov. 13-14. You can see several of my wax batiks in the previous post. The process includes using watercolor, along with sumi ink and hot wax to create amazing paintings on rice papers. It's an intense process yet the results are so worth the effort. Get more info about the workshop by emailing me at sandymaudlin@gmail.com.

EXPLORING BATIK AND WATERCOLOR

Date changed for BATIK WORKSHOP. If you love the look of batik and want to learn to create that fascinating effect using watercolors, check out this 2 day workshop. It will be held in my studio near Cincinnati on November 13 and 14. (Dates were changed from Septemeber.)

Posted below are several of my paintings done with this fascinating and ancient process. We'll be using hot paraffin, rice papers, regular watercolor paints, and sumi ink. Every artist will be painting their own original works of art, using special techniques to create their one-of-a-kind batiks.

Cost is $150 and includes two very full days of instruction as well as the use of melting pots, hot wax, and an assortment of tools. Contact me at sandymaudlin@gmail.com for more info. Do hope you can join us.