Guest Column
Letter to the board of Pinole Artisans Foundation
August 1st 2015
by Tanya Joyce
Hello to All Board Members,
At the July 31 open studio several of us discussed possible strategies for Pinole Artisans activities in upcoming months. Various suggestions arose. I am writing to you all because I am usually unavailable for meetings on Thursdays. Of special interest at this time is the possibility that we will be looking for a new Art Center location. Some of the ideas that came up relate to us Artisans regardless of our group home base location.
I am sending this email to all board members (hope I have current email addresses for all) and a few additional members who have expressed interest in specific ideas about the near future of our organization.
First of all, I like to refer to the three points of our Pinole Artisans Mission Statement as a foundation for many of our activities and plans.
1. Form a network for mutual learning and support. We are great at this! The broad assistance we provide to one another on a variety of art-related topics is ongoing, dependable, and is not tied to a physical location, since we have telephone, internet, surface mail, and monthly meeting possibilities for the exchange of information and ideas.
2. Provide art education, open to all levels of ability. We currently provide this as classes at the Art Center, our Friday open studios, and monthly meeting demonstrations open to all. We could also expand in this area, as we have talked about in differing ways at various times.
3. Provide opportunities for artisans to show their work locally. This aspect of our activities is the most impacted by the potential of changing gallery space, but we do have alternatives -- a couple of which are summarized below.
Recent Observations
1. Our Friday Open Studios continue to be dynamic. This past Friday (July 31) we had just 2 paying attendees, but a lot was going on. Two potential members (who had attended our recent "Imagine" exhibit opening), came in to get an overview of what we did and stayed from half an hour to an hour. Both painting and 3D sculptural works were going on. Two Friday regulars had obligations that kept them from coming to the Open Studio, but both came by to tell us what they had needed to do, which was a big help in assessing interest. Another member came in to observe and comment. One of our guests remarked on the dynamic quality in the room.
The previous Saturday, at my studio in Hunters Point Shipyard, SF, I was talking with an artist who is a painter, graphic designer, art teacher, and gallery owner in SF. Something came up so that I told him about the Pinole Artisans Friday Open Studios. He found the concept of our Open Studios fascinating, unusual, and dynamic. The idea of the combination of a host, optional demo, and getting enthused by the fact of people doing art -- in whatever way they chose -- was one he understood, but he had not heard of it in practice. And all for a minimal fee that helps the umbrella organization! This artist travels widely among groups of executives, artists, and children. I found it quite remarkable that we may have an idea that is even more special than we know it is.
2. Pinole Artisans has a group of activities that do not depend on a central location. Our Plein Aire group is ongoing, outdoors in good weather and meeting at private homes or locations with porches or wide eaves in inclement weather. This activity can continue with email and website connections as we attend to whatever else the organization may need.
One suggestion I have been thinking about is listing Plein Aire painting days, Open Studio days, and art workshop class days all on the same calendar to help members and guests see the breadth of our offerings all in one place on the calendar.
Some classes offered through Pinole Artisans already take place offsite at the studios of individual members and, around holidays, at business locations that are vacant for at least part of the year. We could continue to do this during any necessary transition of our home base.
Additionally, some members have already discussed meeting for informal painting sessions at one another's homes.
3. Our newly augmented website and "blast" capabilities could serve as a "bulletin board" for such events, reaching members, former members, and potential members.
4. Our monthly meetings could continue to be held as they are currently, with business of the organization, art demos, peer awards, and all the other excellent things we present.
5. Exhibit space is the hardest topic to address without a roof over our heads as a group. I am told that one possibility that has already been suggested is the exhibit space we used to fill at the Pinole Library. This is a large, well lit space. It is high up, but that has not precluded hanging work in the past. Perhaps we could talk with the library about using that space again. When I was last in the library, there was no artwork hanging there. With Vickie's advice as a consultant, this could work if the library is still interested. (Vickie Resso formerly headed the library exhibits until her time was required for other activities.)
6. Various possibilities have arisen for me because of conversations with both members and former members of Pinole Artisans.
In conversation with new member Bill Voigt, I am reviving my interest in a Chaucer reading the in grove behind the Pinole Library. This started with an excellent exhibit in the library on a poem of Chaucer's called "The House of Fame," in which Chaucer pokes fun at a lot of pretentiousness, including the glitterati of his day. I lost interest in the project because Pinole Creek at that time was a mess of trash and plastic bags caught in saplings and roots. Bill asked me with a smile, "How recently have you looked at the creek behind the library?" As it turns out, Bill is a member of Friends of Pinole Creek, who had done a marvelous job cleaning up the creek in that area (as well as other areas). My Chaucer project is now back in the active queue -- through Pinole Artisans, who would definitely get big kudos in a program next spring or so when and if this project materializes.
Former member Helena Mazzariello lives alongside Pinole Creek a bit east of the library. She hosted a plain aire painting day some time ago and held a clairvoyant/healing fair one afternoon at her house last week. I invited Helena to our "Imagine" opening on July 18 and she came. The fair at her home -- and garden -- was a week later. I went to this relaxed, informal event and met several new people -- one of whom knew the artists community at Hunters Point Shipyard. So circles expand, overlap, etc. in more ways than we know.
As we continue to progress toward our publicity goal of each member inviting 5 friends to Pinole Artisans activities, it seems advisable to me to include current members, former members, friends, and potentially interested people we meet at events, parties, etc. on our publicity lists. We might be able to do some of this through our mailing list, but much of it will need to be carried out by individual members, so that the work is shared by as many hands and minds as possible.
Thanks in advance for reading all this and for the hard work you are all doing,
Tanya Joyce
[email protected]
At the July 31 open studio several of us discussed possible strategies for Pinole Artisans activities in upcoming months. Various suggestions arose. I am writing to you all because I am usually unavailable for meetings on Thursdays. Of special interest at this time is the possibility that we will be looking for a new Art Center location. Some of the ideas that came up relate to us Artisans regardless of our group home base location.
I am sending this email to all board members (hope I have current email addresses for all) and a few additional members who have expressed interest in specific ideas about the near future of our organization.
First of all, I like to refer to the three points of our Pinole Artisans Mission Statement as a foundation for many of our activities and plans.
1. Form a network for mutual learning and support. We are great at this! The broad assistance we provide to one another on a variety of art-related topics is ongoing, dependable, and is not tied to a physical location, since we have telephone, internet, surface mail, and monthly meeting possibilities for the exchange of information and ideas.
2. Provide art education, open to all levels of ability. We currently provide this as classes at the Art Center, our Friday open studios, and monthly meeting demonstrations open to all. We could also expand in this area, as we have talked about in differing ways at various times.
3. Provide opportunities for artisans to show their work locally. This aspect of our activities is the most impacted by the potential of changing gallery space, but we do have alternatives -- a couple of which are summarized below.
Recent Observations
1. Our Friday Open Studios continue to be dynamic. This past Friday (July 31) we had just 2 paying attendees, but a lot was going on. Two potential members (who had attended our recent "Imagine" exhibit opening), came in to get an overview of what we did and stayed from half an hour to an hour. Both painting and 3D sculptural works were going on. Two Friday regulars had obligations that kept them from coming to the Open Studio, but both came by to tell us what they had needed to do, which was a big help in assessing interest. Another member came in to observe and comment. One of our guests remarked on the dynamic quality in the room.
The previous Saturday, at my studio in Hunters Point Shipyard, SF, I was talking with an artist who is a painter, graphic designer, art teacher, and gallery owner in SF. Something came up so that I told him about the Pinole Artisans Friday Open Studios. He found the concept of our Open Studios fascinating, unusual, and dynamic. The idea of the combination of a host, optional demo, and getting enthused by the fact of people doing art -- in whatever way they chose -- was one he understood, but he had not heard of it in practice. And all for a minimal fee that helps the umbrella organization! This artist travels widely among groups of executives, artists, and children. I found it quite remarkable that we may have an idea that is even more special than we know it is.
2. Pinole Artisans has a group of activities that do not depend on a central location. Our Plein Aire group is ongoing, outdoors in good weather and meeting at private homes or locations with porches or wide eaves in inclement weather. This activity can continue with email and website connections as we attend to whatever else the organization may need.
One suggestion I have been thinking about is listing Plein Aire painting days, Open Studio days, and art workshop class days all on the same calendar to help members and guests see the breadth of our offerings all in one place on the calendar.
Some classes offered through Pinole Artisans already take place offsite at the studios of individual members and, around holidays, at business locations that are vacant for at least part of the year. We could continue to do this during any necessary transition of our home base.
Additionally, some members have already discussed meeting for informal painting sessions at one another's homes.
3. Our newly augmented website and "blast" capabilities could serve as a "bulletin board" for such events, reaching members, former members, and potential members.
4. Our monthly meetings could continue to be held as they are currently, with business of the organization, art demos, peer awards, and all the other excellent things we present.
5. Exhibit space is the hardest topic to address without a roof over our heads as a group. I am told that one possibility that has already been suggested is the exhibit space we used to fill at the Pinole Library. This is a large, well lit space. It is high up, but that has not precluded hanging work in the past. Perhaps we could talk with the library about using that space again. When I was last in the library, there was no artwork hanging there. With Vickie's advice as a consultant, this could work if the library is still interested. (Vickie Resso formerly headed the library exhibits until her time was required for other activities.)
6. Various possibilities have arisen for me because of conversations with both members and former members of Pinole Artisans.
In conversation with new member Bill Voigt, I am reviving my interest in a Chaucer reading the in grove behind the Pinole Library. This started with an excellent exhibit in the library on a poem of Chaucer's called "The House of Fame," in which Chaucer pokes fun at a lot of pretentiousness, including the glitterati of his day. I lost interest in the project because Pinole Creek at that time was a mess of trash and plastic bags caught in saplings and roots. Bill asked me with a smile, "How recently have you looked at the creek behind the library?" As it turns out, Bill is a member of Friends of Pinole Creek, who had done a marvelous job cleaning up the creek in that area (as well as other areas). My Chaucer project is now back in the active queue -- through Pinole Artisans, who would definitely get big kudos in a program next spring or so when and if this project materializes.
Former member Helena Mazzariello lives alongside Pinole Creek a bit east of the library. She hosted a plain aire painting day some time ago and held a clairvoyant/healing fair one afternoon at her house last week. I invited Helena to our "Imagine" opening on July 18 and she came. The fair at her home -- and garden -- was a week later. I went to this relaxed, informal event and met several new people -- one of whom knew the artists community at Hunters Point Shipyard. So circles expand, overlap, etc. in more ways than we know.
As we continue to progress toward our publicity goal of each member inviting 5 friends to Pinole Artisans activities, it seems advisable to me to include current members, former members, friends, and potentially interested people we meet at events, parties, etc. on our publicity lists. We might be able to do some of this through our mailing list, but much of it will need to be carried out by individual members, so that the work is shared by as many hands and minds as possible.
Thanks in advance for reading all this and for the hard work you are all doing,
Tanya Joyce
[email protected]
BY ELISABETH LEHRER
Dear Fellow Pinole Artisan Watercolorists:
I found this information on You Tube. I liked Steve Mitchell's instructions and gleaned these tips from him. I just bought the Ruling Pen and think I probably could do just as well with a bamboo stick although I don't own one yet.
You might get some interesting lines using a dry twig which you can also paint with, twisting the twig as you apply your color (or frisket). Should we call this "twigging"? - or is it still "painting"? You will not get exact lines but lot of variations that you might not ordinarily achieve with a brush.
MASKING FLUID (FRISKET)
When using brushes that are dedicated to frisket, take a small bar of soap and 1) dip brush in water, 2) then dip brush in frisket. This will protect brush so it can be rinsed easily, and the soap will not harm the frisket application.
FRISKET TOOLS:
Bamboo Stick: (used in Chinese calligraphy) You have to clean it often and dip it often, but you can get a fine line.
Color Shaper Masking Brush: you don't need soap and it is great for masking larger areas.
Fine Line Masking Pen: (called masquepan) is a bottle of frisket with a fine tube applicator that has a needle as part of the cap which you reinsert to keep frisket from clogging when stored.
Ruling Pen: can be used with ink, friskeet -- even watercolor paint. It is a meetal tool that has a screw on the end. The screw can be twisted open or closed to widen or thin the capacity for a range of line thickness.
Note: When using it to draw a straight line, use a metal ruler backed with cork.
This pen can be dipped in the frisket, watercolor or ink.
Old Fashioned Ink Pen: Achieve hair fine lines with this. It might be found in India Ink department. It does not store the frisket but is dipped in the frisket as needed.
OTHER WATERCOLOR TOOLS:
Aquaboard: It is a masonite covered with gesso like substance. It has infinite correctability. It acts like watercolor paper but you can lift from it amazingly well. It is a great practice tool.
Triple Well Water Bucket: Martin Mejello 2-Liter Water Bucket Blue with Orange Handle by Martin (on Amazon)
This is a small bucket divided into three sections - so you always have one receptacle for clean water. It also has a place on top to tuck a towel to make drying the brush very accssible. It has a place to rest the brushes horizontally.
PAINTING GREEN VEGETATION (CREATING INTERESTING MIXES):
Using Sap Green and Hooker's Gren can look monochromatic. You can still use them but should overlay them with other colors to create variety and interest. However, by simply avoiding them, try this:
Palette: Azzo Yellow - lemon like
Indian Yellow - orangy, pumpkin like
Prussian Blue
Ultramarine Blue
Payne's Grey
Alizarin Crimson
Mixing blues and yellows will achieve a sprectrum of greens. Adding a little Alizarin Crimson will get you some nice brown areas.
Exmaples:
Pain some Prussian Blue
While still wet add a little yellow over a few areas of the blue.
Paint some Lemon Yellow
While still wet add a little Ultramarine for shadows or receding areas.
Paint some Payne's Grey
Add a little Ultramarine to a few little areas
Add a little Lemon Yellow to a few areas (Azzo)
Add a little Indian Yellow to a few areas.
Have fun!
Elisabeth
I found this information on You Tube. I liked Steve Mitchell's instructions and gleaned these tips from him. I just bought the Ruling Pen and think I probably could do just as well with a bamboo stick although I don't own one yet.
You might get some interesting lines using a dry twig which you can also paint with, twisting the twig as you apply your color (or frisket). Should we call this "twigging"? - or is it still "painting"? You will not get exact lines but lot of variations that you might not ordinarily achieve with a brush.
MASKING FLUID (FRISKET)
When using brushes that are dedicated to frisket, take a small bar of soap and 1) dip brush in water, 2) then dip brush in frisket. This will protect brush so it can be rinsed easily, and the soap will not harm the frisket application.
FRISKET TOOLS:
Bamboo Stick: (used in Chinese calligraphy) You have to clean it often and dip it often, but you can get a fine line.
Color Shaper Masking Brush: you don't need soap and it is great for masking larger areas.
Fine Line Masking Pen: (called masquepan) is a bottle of frisket with a fine tube applicator that has a needle as part of the cap which you reinsert to keep frisket from clogging when stored.
Ruling Pen: can be used with ink, friskeet -- even watercolor paint. It is a meetal tool that has a screw on the end. The screw can be twisted open or closed to widen or thin the capacity for a range of line thickness.
Note: When using it to draw a straight line, use a metal ruler backed with cork.
This pen can be dipped in the frisket, watercolor or ink.
Old Fashioned Ink Pen: Achieve hair fine lines with this. It might be found in India Ink department. It does not store the frisket but is dipped in the frisket as needed.
OTHER WATERCOLOR TOOLS:
Aquaboard: It is a masonite covered with gesso like substance. It has infinite correctability. It acts like watercolor paper but you can lift from it amazingly well. It is a great practice tool.
Triple Well Water Bucket: Martin Mejello 2-Liter Water Bucket Blue with Orange Handle by Martin (on Amazon)
This is a small bucket divided into three sections - so you always have one receptacle for clean water. It also has a place on top to tuck a towel to make drying the brush very accssible. It has a place to rest the brushes horizontally.
PAINTING GREEN VEGETATION (CREATING INTERESTING MIXES):
Using Sap Green and Hooker's Gren can look monochromatic. You can still use them but should overlay them with other colors to create variety and interest. However, by simply avoiding them, try this:
Palette: Azzo Yellow - lemon like
Indian Yellow - orangy, pumpkin like
Prussian Blue
Ultramarine Blue
Payne's Grey
Alizarin Crimson
Mixing blues and yellows will achieve a sprectrum of greens. Adding a little Alizarin Crimson will get you some nice brown areas.
Exmaples:
Pain some Prussian Blue
While still wet add a little yellow over a few areas of the blue.
Paint some Lemon Yellow
While still wet add a little Ultramarine for shadows or receding areas.
Paint some Payne's Grey
Add a little Ultramarine to a few little areas
Add a little Lemon Yellow to a few areas (Azzo)
Add a little Indian Yellow to a few areas.
Have fun!
Elisabeth