A love letter to students

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I see you in the forest, in the sunlight and through the trees .... I miss you. I love you. I’m holding you in my heart, now and always. 

Memories of your brilliant smiles, laughter, and excitement to create continue to fill my heart with so much joy! The warm hugs, silly gestures and sounds we each made walking into the classroom because we greatly missed each other since the last time. Little 'ah-ha' moments of discovery and sharing with each other, knowing we are surrounded by unconditional love and support. There are only a few rules ... 1. wear an apron if you sit in the front row of my demos 2. be filled with curiosity, awe and wonder, and open to all possibilities 3. think and speak of yourself with kindness and positivity. 4. Respect and honour your individuality ... your amazing, unique and natural way of mark-making/seeing/thinking. 5. Always learning!

Trust and remember this…. We will fill a room with laughter, and create together, once again. Of course, we don't know what we don't know right now, but as always, I remain hopeful, positive and determined. 

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Creative Confidence & Tech Tips for Creating!

““It takes vision and courage to create - it takes faith and courage to prove.” ”
— Owen D. Young
FireFox Acrylic on Birch - 16"x20" (Loyalist Acrylic Confidence workshop demo)

FireFox Acrylic on Birch - 16"x20" (Loyalist Acrylic Confidence workshop demo)

When I have an idea, I start gathering reference photography. Sometimes I use photoshop to tweak, hybrid and create some new visual. It could simply be cropping images or exaggerating the colour/contrast. The result will be a lot of research and an image that feels right for a drawing/painting composition. Once desire creates that tension (aka. I NEED to create this into reality), I put out materials that I feel will support the vision ...

Yet even though I choose materials based on what I know they are and can do, I often don't know exactly what the outcome will be. This experimental attitude, that every piece I create is a step forward into an unknown and evolving conversation, I believe that because I am open to this reality is part of why my art often works out. The other part is a mixture of believing I could possibly do it combined with all that curiosity and excitement .... I won't know unless I try and just DO IT!

Self-confidence grows every time you keep a promise to yourself” —Asha Dornfest

The 'FireFox' painting above is a demo from my last Loyalist workshop, Acrylic Confidence: The Bold Basics'. My lesson plan was no different for teaching as it would be for my own work. I chose a reference that I was excited to create, despite any intimidations or challenges. There were of course a few hurdles I knew I'd have to climb (and lead the way for others) but I had a plan and a desire.... From there, the tension naturally overwhelmed the fear. The awe, wonder and excitement trumped any doubt and risk. This is courage at it's best.

A lot of the artists who took this class were first time painters. Many were almost finished a 16"x20" painting after working hard for 2 days. So proud!!!! They are now all POSSIBILITARIANS as they experienced first hand what can happen when you challenge yourself to try something you didn't think you could ever do!

“Confidence is that feeling by which the mind embarks on great and honorable courses with a sure hope and trust in itself.” -Cicero

I promised to nurture that courage. Of course, there are many ingredients that make up courage - aside to the willingness to be open, authenticity, trusting inevitable progress, and work really hard - I provided material knowledge and preliminary thought into a plan (although we we open! we made a lot of decisions and experimented based on brilliant ideas that came up as we went along), communicated and took it slow - a journey we took step by step together. Check out how they all took it from there and soared high! Their work is inspiring, and very much proof that spirit can be nurtured. xoxo

Patience, trust, persistence! - claudia jean mccabe

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Tech Tips for creating - start to finish!

  • Use standard sizes of supports right from the start, to ease the costs of potential framing.

  • Always photograph work as soon as you think it's 'finished', before framing and any kind of varnishing. It's a great way to reassure that decision, and if you use a good camera, it can go right into the archive.

  • Always paint the edges of canvas and cradled panels. I'll use a neutral colour that can often be found within the art which helps ground the work. My go-to's are payne's grey, carbon black and sometimes gold (which is semi-opaque and requires a couple layers).

  • Practice a signature regardless of media. If it's mixed media, I'll use a carbon pencil. When using paint, I choose a neutral colour similar to painting the edges or a couple shades darker or a lighter tint than the colour in the area I want to sign.

  • I used to flip flop - sometimes signing on the back, sometimes on the front, but after working in framing and realizing that the back get covered most of the time, I have started making an effort to sign on the front regardless of texture, medium ect.

  • Sign work on the front 1" in from all edges, no matter the support (ie. paper or panel), as both a mat or a frame naturally covers 1/4" of all edges. This is VERY IMPORTANT! If you take that into account, your signature will always look proportionate within the whole space and you won't run the risk of your signature looking cut off.

  • In regards to varnishing Acrylic art: There is too much controversy over this, and until more research is done, I won't be buying any specific varnish product. If anything, I will use a regular Polymer Medium to unify the sheen.

  • In regards to varnishing Mixed Media art: I have always and only ever used the tried & true Krylon Crystal Clear spray varnish, which is designed for all media. I shake the can well and spray many light misty veil layers only to set the media and never with the intention of creating a thick shellac-like barrier. This delicate approach still often changes the media, especially darkening lighter colours, and I accept that 100%. I'll go back in to sharpen if needed, but it's possibly why I use extreme high contrast to begin with (omg I just realized that!!!)

  • If you are wiring a canvas yourself, use d-ring hooks and appropriate wire. Here's a great article, and if ever in doubt, any frame shop can do it for a reasonable price.

  • Choose a framer you trust! Framing has a unique approach to design, and when done right, it will heighten the quality of your work and most importantly, protect it. I often recycle old frames, or buy them on sale, yet I replace components with acid-free matting and UV protective glass, with spacers for mixed media work. Expect to spend no less than $100 for custom framing, and build that into your cost if you are selling.

  • If you ever want/need framing advice, or have ?'s, I'm happy to help :)