BROMMER WORKSHOP DAY 4: 8 MORE DESIGN STRATEGIES!

Day four of the workshop focused on quite a few more design strategies.  He discussed 8 additional compositional ideas.  After talking about the concept behind the design, he would show us lots of examples using this format.  There was always a wide range of subject matter and styles which was very helpful to understand how one might use this design for their own work.  Some of the examples were rather subtle and Gerald had marked those with black lines to help us see the division of space.  We were expected to produce two paintings and had the option of picking which design schemes we wanted from those that were discussed.

  Since I am not usually an abstract painter, my first choice was the Opposing Forces composition.  I can invision working this into my paintings more than some of he others.  A real challenge for me is to see how I might utilitze each design idea within my work.  I plan to play around with this idea in my sketch book when I get some breathing room. As you will see in the slide show, this was a very popular format.  I was pleased with the final piece.  I discovered some new textural techniques along the way.  I was working over old paintings.  I like how the original color shows up in very subtle ways.  For my second painting, I decided to do a vertical composition because I noticed that I have a tendency to apply collage papers in a vertical manner.  I was working on varying the width, color, and breaking up the space in an interesting way.  Not so sure about the outcome but I sure was having fun.  Here are the results of the rest of the class having so much fun it should be illegal!

BROMMER WORKSHOP DAY 1: MOVEMENT

If you ever have a chance to take a workshop from Gerald Brommer, you must take advantage of the opportunity.  He keeps things clear, simple and insightful.  I have put together a slide show of all the student work today.  Every one is excellent, interesting and different.  These are the two I created today. The first followed some very specific directions to create movement toward the focal point.  The second we were free to create our own design with the same goal in mind but more individual placement of light and dark shapes.

If you can't make a Brommer workshop, his books are the next best thing.  I have two books on college that he wrote.  Both are favorites of mine.  Watercolor and Collage Workshop has the lessons we are covering this week.  Collage Techniques has other ideas and very clear instructions, as well. (be sure and click on the "x" to get rid of those stupid pet things if it shows up on the slide show.  I have no control over that appearing with the slide show.  They must have paid Slide.com big bucks to stick it on every slide show!)

RESURRECTION!

Today I decided to photograph my gesso transfer process for the new book. While I was covering up old, ugly paintings with white gesso, I decided to try an idea I had from the Brommer workshop. I covered another painting with red gesso with the intention to proceed with a collage on top. I think I need to re-photograph the transfer process because the photos are at awkward angles. I guess I need to put things on the floor and shoot down or stand on a ladder and shoot down.

There is something so liberating about resurrecting a piece of good paper with a bad painting on it from the scrap heap and turning it into a painting I like. By the time I finished, I'm not sure the red base influenced anything, but I had a great time working on it. I kept remembering Jerry Brommer's words of keep layering until you like what happens. There are a number of layers in play here. I also finally played around with a new product that was given to me as a gift by Kathy McChesney when I was teaching in Solano Beach. These water soluble oil pastels are called Portfolio (found in Michael's) and made by the people who bring us Crayola. It is a student grade product but WHAT FUN! Kathy does the most amazing paintings with them. I never figured out how to combine them with what I was doing until today.

I went to the website at www.portfolioseries.com and found some wonderful student work, and interesting projects by art teachers. One project, (under acrylic), was wooden chairs painted in the style of a famous artist. The kids did amazing work. Makes me want to create an entire set for myself. If you are looking for a dynamite way to create something exciting on a budget, check it out. Oh well, must stay on task Kudos to the talented kids and their dedicated, inspirational art teachers.

FINAL DAY OF GERALD BROMMER WORKSHOP: MORE IS BETTER!

Gerry talked about the architect that created the phrase "less is more" then he quoted another architect who stated "Less is boooooooring" Mr. Brommer sides with the latter! Today's assignment was to have a "theme" and place your focal point in the top third of the vertically oriented page, then fill the bottom 2/3rds with lots of small drawings and words, much like a journal page. He likes to fill up all the space. This is a great idea for travel, especially. We started out with collage images, covered with washi paper then diluted gesso. After this dries, go back into it with drawing and painting.

I decided this was a good chance to see how my new photo transfer process would work. I ruined two sheets by printing on the wrong side. The ink just slides off and doesn't stick. What a mess! It was very difficult to see the coating on the side meant for printing, but I finally got it right and printed one page of drawings and one of colored paintings of my Frenchman. I made a contact sheet with nine on the sheet. It was lots of fun working with this idea. After I transferred the images, I used mostly tissue paper to collage over as I wanted a lot of the stuff to show through. Gerry suggests adding a border to unify the composition and contain all the small fragments. I still want to add some stronger ink lines and perhaps more words. Over all, I am pleased. It is very different from anything I have ever done before. I also want to try more of the transfer process on this surface. It has interesting possibilities.

I was too tired to unpack the car. Tomorrow I have to finish packing for my workshop in Ransom Canyon, Texas. I will need to switch hats and be the instructor instead of the student. I love both roles. Looking forward to renewing some friendships from my last Texas workshop and meeting some new friends.

BROMMMER WORKSHOP DAY 4: GESSO ADDED TO THE MIX!

Today we collaged the paper first, let it dry, covered it with diluted gesso...let that dry...then drew our image in and added paint. The entire week, line was to be the dominant element. I used lots of printed material from magazines and books underneath the Japanese rice papers. The gesso helps to obscure the collaged materials and creates an interesting surface to draw and paint on.

In the middle of the night I had this idea to do a collage starting with black gesso and then working towards lighter values. Here is my first go at this idea. I drew the image on the dry black gessoed surface with diluted white gesso in a needle nose bottle. It would be fun to try this idea with other gesso colors. I have red and gold. It comes in many other colors,

The ideas we have been working with this week are not in any of Gerald Brommer's published books but he has a new DVD through Cheap Joe's with this workshop material on it. Naturally, I bought a copy. It turns out the Gerald has seven different workshops he presents to groups around the country and is working on another. It is inspirational to see someone that is 82 so active, energetic, creative and dedicated as he is. I want to be like him when I grow up.

GERALD BROMMER WORKSHOP DAY 3: HEAVY TEXTURE PLUS LINE

Each day just gets better and better. I am very much attracted to this way of working. I hope to do a lot more in the future and have some greater insight into additional methods and ways of combining materials that I never thought of before. I have all the books but somehow they never sunk in. Probably sensory overload. There is only so much we can absorb at a time. I need to revisit lots of my books.

Today we built up the surface with collage paper, using brown bag or brown craft paper for the dark value. Covering the entire surface with layers of paper, then drawing and painting into the wet collage, especially adding white gouache which does amazing things on this surface. Then let it dry and then adding more line, paint, etc. Here are my two efforts for the day. I think this is the first workshop I have ever taken where I wanted to mat and sign anything I did. Amazing!

I am soaking up all of Gerald's wonderful stories and wisdom as well as his great techniques. He has traveled and taught for so many years that he has great little interesting adventures and experiences that he shares.

Tomorrow we will put gesso over the textural surface and paint on that. Gesso? I think I have died and gone to heaven!

BROMMER WORKSHOP DAY TWO: LINE PLUS COLLAGE

Today we worked with collage papers instead of painted shapes. The idea is that the shapes do not relate to the line. More like a double exposure thing where two separate things are merged into one painting. We did two different paintings, one where you start with the line and one where you start with the shapes of collage paper. It was more difficult that I thought. Once you have the line down, it is challenging to ignore the line and put the papers down. If you look carefully, you can see the line under the collage papers in the second image. I decided to photograph the process so there is a before and after. I did two different versions of the Frenchman so I could use them for the LINE chapter.

It was a very fun day and I like the slow progression of adding ideas to the mix one change at a time. Very easy to really absorb the information and put it into use. Gerry liked my first effort so much he said he would like to have it. I said I would trade and he agreed!!!!! Wow, I am very jazzed about that! Honored that he wanted one of my paintings and excited that I get to own one of his.

Tomorrow we work with brown paper, white textured collage papers and layers and layers. Yum!

BROMMER WORKSHOP DAY ONE: LINE & SHAPE

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This is going to be a FABULOUS week! Gerald Brommer is a masterful artist, an experienced teacher of teachers and students alike, and a humble and charming gentleman. His manner is low key, his discussions full of humor and I like his critiques. He always finds the good in the work but they are honest and instructive. Of course, I would expect as much. I have been in classes where the critiques were useless.

Today's lesson was about light colored shape washes unrelated and subordinate to the line. We worked with starting with line first and then starting with shape first. When you are done, you can't tell which came first. I can't wait to pre-paint my sketch book pages with this idea. The last half hour we painted washi papers for tomorrow's session.

Here are my efforts for the day. They are quarter sheets. I usually don't work this small but it is a good size for a workshop where there is limited space. I wish I had brought my Frenchman photo to work with. I plan to work with him for the rest of the workshop, along with some other faces.

LINE AS SHAPE & PATTERN

While packing a box to ship to Lubbock for the workshop I am giving next week and packing supplies for the Gerald Brommer workshop I am taking this coming week, I came across the start of a painting with the Frenchman. I had drawn this image onto the paper with red ink. I decided to see how the Permanent Masking fluid would work on this paper. Using a calligraphy pen point with a flat nib, I covered the red lines to preserve them. I followed with a pale yellow wash and went from there. I used a wider nib and a ruler to keep my lines straight, I patterned some of the sections with stripes. The resist is very subtle on this paper and in some areas doesn't show up at all. This is my printer paper which doesn't seem to have much sizing in it or on it. I have some other papers to try it on. Overall, I am pleased with this one. I kept to 4 colors and their mixtures. Gamboge, Thalo, Permanent Red and Hansa Yellow Deep (Yellow Orange). It was very helpful to have my value pattern all worked out. I stayed with it most of the way. I was able to remove the color to create a black and white image in the computer. Comparing it to my value sketch, I am happy to say it measures up quite nicely! By outlining the shapes with a line I effectively combined two elements. Using line as pattern is another combination of design elements. Pattern is a form of texture. In fact, each element can be combined with each of the other elements to create an amazing array of ideas.

I look forward to sharing with you the Gerald Brommer workshop this coming week. He will be focusing on Collage and Line!!!!!!! How perfect is that? I am looking forward to meeting him and learning from one of the true master teachers. In fact he has been a teacher's teacher for many years. I know it will make me a better teacher as well as learning some exciting new ways of working.

ANOTHER COLLAGED WATERCOLOR PAINTING

Here is a second collage painting. I actually worked on the previous posted painting and this one at the same time. Gluing papers down really sogs up the paper. While the first was drying, I started this painting. My approach was very different. I photographed the stages and have posted them here. This painting started on fresh untouched 140lb watercolor paper. With the paper upright on an easel, I sloshed on colors very loosely blocking in the composition. Then I started tearing and gluing (with diluted Elmer's white glue) different Japanese papers I had previously stained with watercolor paint. I added some painted tissue paper I made awhile ago. Then I let the whole thing dry. Yesterday I finished it with watercolor and some Stabilo Water soluable crayons. This is the brand Shirley Travena uses and I finally located them at Accent Arts in Palo Alto. I don't know that they are any different or better than Caran D'ache. I still operate under the delusion that if I have the same products I can get the same results as the artist I admire. I love Shirley's line work with the Stabilo Crayon. My rational brain knows that it is the hand of the artist, not the marker that makes the difference, but it couldn't hurt to have the same brand. Right? I did wind up using a bit of white acrylic on the beard. This collage process makes it possible to go back and forth and make changes and corrections. I am very pleased with this painting. I have the next one planned....a self portrait. Check out David Lodenberg's blog (a link is on the side of my blog). He has issued a challenge to other artists to do a self portrait and send it to him, Posting will be the end of June.

I had a request for the titles of my Gerald Brommer books on collage, so here they are.
TRANSPARENT WATERCOLOR: ideas and techniques Davis Publcations 1973 (found in a used book store...lucky me!!!)
WATERCOLOR & COLLAGE WORKSHOP Watson-Guptill 1986 reprinted 1997
COLLAGE TECHNIQUES a guide for artists and illustrators Watson-Guptill 1994

RECYCLED PAINTING WITHOUT GESSO!

I'm all excited about collaging again. I found an old book (1960's) by Gerald Brommer in a used book store. It had mostly black and white photos but lots of exciting techniques and ideas for watercolor. The book was written by a High School art teacher, for art teachers. The best bit of information in the book was a long, clear description by Alexander Nepote, on his torn paper collage technique. I thought this information had gone to his grave with him. If you have ever seen a Nepote painting in person, it is a wonder to behold. I started pulling out the two other books I have on collage by Brommer and reread them. I was getting all fired up to make a collage of my own.

I decided to collage over an old painting that was never going to find a happy home. It was on 300 lb watercolor paper which is ideal for collage. There is something cathartic about tearing and glueing and getting rid of ugly. I love the mysterious color left peaking through. I ruined the first drawing of the four heads trying to bring it to life. I wanted to draw them again but needed an interesting background. This newly collaged piece was what I planned as the background. The idea for the patterned circle shapes where the heads would be came to me while I was in a dream state. I kept layering and playing with the abstract until I was fairly satisfied. Then I drew the 4 heads with my wooden drawing tool fitted with a dark blue permanent pen. I tried to go slowly and deliberately but it still comes out funky. Originally, this was supposed to be the finished piece, but I decided it needed some color. The whole things was glued down with diluted Elmer's white glue. This makes it possible to paint with watercolors on top. My husband thinks it still looks unfinished. I smile. We stay married because he doesn't take my legal advice and I don't take his art critiques seriously.