Where are you from originally?
I grew up in Roeland Park, Kansas, which is a little suburb of Kansas City. Then I moved to Lawrence, KS for college, which is about 45 minutes away. And I never left! (except when I went to school in France for a year.)

Tell us a bit about your life and growing up, and when art became an important part of it:
I remember art always being in my life, and always making things as a kid. My Mom sewed all of our clothes, and my Dad was a stone mason. So doing things with my hands and being creative came naturally. I also had a great-uncle who was a printer, and gave me lots of pads of paper to draw on.

Traci used the Copic Airbrush System to create these journal pages.

What is your earliest memory of drawing or creating art?
I remember when I was in kindergarten, my teacher made comments on my drawings that I colored things the wrong colors and didn’t stay in the lines. I guess that hasn’t changed. I still have a little clay statue that I made as a kid of my dog (but it looks more like a cat).

What inspires you to create?
I think for me, I just have this feeling inside that I have to do it. And I’m happier when I’mdoing something creative, whether it’s taking pictures, or slapping some paint into my journal. And the more creative things I do, the more I’m inspired to create.

In what kind of environments have you learned about or “trained” in art?
I took all kinds of art classes in junior high and high school, including photography, printmaking, weaving and ceramics. Then in college I majored in graphic design. For my junior year of college, I went to la Villa Arson art school in Nice, France. But aside from that, I do a lot of experimenting on my own.

You’ve said you like finding the extraordinary in the ordinary. What are a couple of your best extraordinary finds or creations from ordinary things?
Some of my best “finds” I’ve used as printing or stamping tools. My first book, “Print & Stamp Lab” has a lot of these finds in them–such as using those oval and round corn cushions (for corns and bunions on your feet) to print with. And my favorite is using flip flops as printing blocks. Not only can you stamp the textured sole, but they can also be used as moldable foam to make your own stamps.

If you were stranded on an island, and all your basic needs were being met.  What three additional items would want to have? Tell us why, or explain what you would do with them:
Only three? My art journal, a Pentel Pocket Brush pen, and my bag of Copic sketch markers. (But I’d sneak in some glitter glue, too.) With the markers and brush pen, I could write and draw in my journal. Then I’d glitz it up with the glitter glue. I guess I’d have to apply it with my fingers, but I’m okay with that. I’d love to have a camera with me on that island, but then I’d either need some film and a photo lab, or my laptop & printer.

What’s your favorite part about being an artist?
That I get to make stuff! I get to do what I love for a living. I’m also never bored because I have so many different creative things I like doing. I also love experimenting with new materials and seeing what I can do with them.

What is the worst part about being an artist?
The financial part of it. Making a living as an artist is not easy. But I can’t imagine doing anything else.

How did you develop your particular art style?
Hmm, well that’s a tough one. I guess it evolved over time, and keeps evolving. I like to work intuitively, just doing what feels right, and working without laboring over decisions on what I’m doing.

Can you briefly describe your process?
When it comes to working in my art journal, I usually first apply a thin layer of gesso. Then I start layering on collage and paint. While I’m doing that, I start adding some text, stamping or writing a headline of sorts of what I’m journaling about. Then I get into more details with handwriting. I add photos, stamp with rubber stamps, and draw on the page with different coloring media. I basically work on the page until there’s no more room left to add anything. I don’t have a set way of working really. I do all of those things, but not in any certain order.

Do you wake up in the morning and know whether or not you’re going to have particularly creative or artistic day? What are the signs?
Not really. But I pretty much work all the time. I do start almost every day off by walking my dog through the cemetery that’s across the street from my house. I usually take my iPod Touch with me to take pictures. It’s a good way to start the day. I often get great ideas or problem-solve while I’m walking my dog.

Tell us more about working with layers (you mention them in your artist statement):
I find I like to use layering in all of the different media that I work in. In photography, I like to take pictures that use reflections or double-exposures, layering different images, color and textures on top of each other to create a new image. When I dye spinning fiber and yarn, I layer colors in the dye pot to get a rich, multi-colored effect. An0d when working in my journal, I apply thin layers of paint and collage, adding and subtracting as I work, revealing what’s underneath a layer while creating another one.

When and how did you start using Copic markers?
Some years ago I was teaching at an art event in a hotel that had a “store” set up near the classrooms. I think that was the first time I saw a Copic Sketch marker. I liked the size of it and bought one to try it out. I was hooked! In my journals, I often draw outlined letters for my “headlines.” I like to use the Copic Markers to color in the letters.

What motivated you to use them?
Since I work in layers, I like to use permanent pens, markers & stamp pads. That way if I’ve done some work and decide to apply another layer of paint or a wash of color on top of it, I can do it without things running or bleeding. Since Copic markers are permanent, they work great for my style of working. I also love using the Copic Airbrush System with stencils to create backgrounds or borders in my artwork. I probably mainly use the brush side of the sketch markers. I like to color things in with them. The size makes it go fast!

Who are some of your favorite artists?
The main one who comes to mind is Hundertwasser. I love his sense of color and organic shapes in his drawings. As far as journals go, Dan Eldon and Peter Beard. I love that they use their photographs in their journals and also rework them to create a new piece of artwork, which is something I like to do too. I’m also drawn to outsider artists.

You’ve published two books and have numerous online tutorials. Tell us a bit about them:
My first book is “Print & Stamp Lab.” It’s a DIY book that shows you how to make 52 different stamps and printing tools from things around the house, or from things that are normally used for other purposes (like flip flops and corn cushions that I mentioned earlier.) My second book is “The Art Journal Workshop.” It gives basic information on different mixed-media materials that can be used in art journaling, then has 20 different journaling exercises. I’m known for my “raw journaling,” so the exercises in this book go beyond the surface and into deeper self-exploration through journaling. It also comes with a DVD that has 6 videos of me creating some of the journal pages in time-lapse photography. Right now, I’m working on a kid’s book called “Print It!” It’s a short book for a British publisher that has 12 projects for kids to make They learn how to make the stamping or printing tool, and make a project that uses it at the same time. That book will be out in 2012. Aside from those books, I’ve got online videos such as me creating a journal page, how to mount rubber stamps, how to use henna stencils in an art journal using both paint and the Copic Airbrush System, and how to make moldable foam stamps, and some others. They are all on my blog at http://www.TraciBunkers.com/blog.

Tell us about your 30 Days of Journaling project:
Last winter I needed something to get me going. I felt like I wasn’t doing anything creative just for me and wanted to change that. So I decided to do 30 days of carving, where I carved a stamp and blogged about it everyday for 30 days. I also did a sketch or drawing and posted it too. I got such a great response and enjoyed doing something creative everyday, that I wanted to do 30 days of something else. Bianca Mandity, inspired by my 30 days of carving, told me she was going to do 30 days of journaling. I decided to do it too. So everyday for 30 days, we both worked in our journals and blogged about it. Normally I do a journal page from start to finish in one sitting, but didn’t have time to do that everyday for this. So I set a time limit of a half hour, and whatever I got done in that time was what I did for the day. Then the next day, I’d finish what I had worked on the day before, or start a new journal page. Before this experience, there were times I just didn’t work in my journal because I felt I didn’t have enough time for a whole journal page. This showed me a new way of working and that I could work in my journal in small amounts of time. It also showed me that I could follow through with a commitment like that! Since then, I’ve done two rounds of “30 Days of Get Your Art On” where I just did some sort of art every day and posted it on my blog. And in December I did “30 Days of Drawing.” Check out my blog to see all of those.

Watch Traci use Copic Sketch markers and the Copic Airbrush System in an art journal:

Find Traci on the web:
Website
Blog
Etsy Shop

While I like to use my Copic markers to color images in the traditional way, I also like to experiment a bit and see what other fun ways I can use them.  I’m really excited to share one of my favorite “non-traditional” Copic coloring methods with you today.

As a mixed media artist, I’m always trying to… well… mix my media!  I did just that, combining Copic Various Inks and acrylic gel medium to create funky, colored skins which I then used to “color” an image.

You will need:
Non-stick craft sheet
Various ink (2 of each color)
Palette knife
Gel medium (glossy was used here)
Canvas board
White acrylic paint
Paintbrush (flat)
Copic marker(s) (not black)
Scissors or Xacto knife

First, you need to make your acrylic skins.  Typically, thin layers of acrylic paint are used for this.  I wanted a very vibrant yet transparent mix of colors, so I used Copic Various Inks to create the color for each skin.  It’s imperative to use a non-stick craft sheet when making your skins.

Apply 3-6 drops of Various Inks onto the surface of the craft sheet.  This can be all one shade or a mixture of 2 different shades or colors.  Here I am using YR15 and YR18.

Using a thin palette knife, slowly spread the ink across the surface of the craft sheet.  Initially, the ink will condense and reform beads.  As it dries, it will stick to the surface and remain spread out.  Blowing lightly on the ink as you spread it helps to speed up this process.

Once the ink is completely dry (no longer sticky), apply a layer of gel medium over the ink with a palette knife.  Spread the gel medium gently and try not to “mix” the ink into the medium.  The medium should be approximately 1/8 – 1/4 “ thick.  I like to leave stoke marks in the medium for added texture.

Repeat the previous three steps with the additional colors necessary to “color” your image.

While the skins are drying (typically overnight), draw an image onto the canvas board (try this technique first with simple, open images and move onto more complex and detailed images as your experience with skins progresses).  Outline your image with a dark Copic marker (do not use black as the pigment in black sometimes feathers when combined with acrylic mediums).  Apply a thin layer of white acrylic paint over the drawn image.  This gives a nice bright base for your skins and the Copic ink of the drawing will become visible once the paint dries.

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Once the skins and the drawing are dry, you can move on to the next step in “coloring” your image (if your skins have “cracked” during the drying process, the layer of gel medium was too thin.  You can apply another thin layer over the cracks and let dry before proceeding).  Carefully remove each skin from the craft sheet by sliding a large palette knife under the edge and gently lifting.  The Copic ink will be pulled from the craft sheet and “stick” to the bottom of the skins.   Do not let the skins fold or touch each other as they will stick together.

Place a colored skin over the area of the image that you want “colored” and trace around the outlines of the image.

Using an Xacto knife or scissors, cut along the lines of the image.

Once you have all of the pieces cut, the “coloring” begins!  Apply a thin layer of gel medium to a section of the drawing and then place the corresponding skin over it.  Press down gently to adhere.  Continue gluing skins into place.  Layer individual colors to create more depth and texture.

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Once the colored image is dry, outline the image and add final details with a dark Copic marker.

While this obviously takes much more time and effort than traditional coloring, it also gives a completely different look.  The mix of texture, translucency and depth create an almost stained-glass effect – perfect for an array of mixed media projects.

Products Used:
Golden Glossy Gel Medium
Golden Titanium White Fluid Acrylic Paint
Copic Sketch Markers – RV09/RV19/RV69/G17
Copic Various Inks -B12/B18/YG13/YG25/G03/G09/YR15/YR18/Y35/Y17/V04/V05/R43/R46/RV66/RV69

Find Colleen on the web:
Web Site: http://www.distinctivetouches.com/
Copic Color: http://www.copiccolor.com/cschaan

Share your mixed media projects with us on Facebook and Twitter!

Julie Fei-Fen Balzer is a mixed media artist based in New York City. Julie is currently the co-host of Scrapbook Soup TV (PBS) and has been featured in numerous magazines and TV segments. Read on to learn more about this talented artist:

Do you have formal art training or are you self-taught?
I am self-taught.

What is your earliest memory of drawing or creating art?
My Mom used to give me a bag of mini marshmallows and a box of toothpicks and I would spend hours making sculptures, using the marshmallows to connect the toothpicks to each other.

How long have you been working with mixed media?
Mixed media is basically instinctual. When you think about it, most people have mixed their media in way or another. Usually they stop mixing when they’re told the “right” way to do it. I’m lucky. No one every said, “You’re doing it wrong.” So when I didn’t have sheer fabric on hand, I started stitching transparent gel into my quilt. Or when I didn’t like the color of a piece of patterned paper, I painted it. I think necessity is the mother of mixed media. If you don’t have what you need, you reach for what’s there and you make it work! I was definitely doing mixed media before I even knew what it was!

Describe a typical day in your art studio:
A few months ago I wrote a blog post called “Forty-Eight Hours.” For forty-eight hours I kept track of everything I did. And it is a pretty accurate picture of what daily life is like. I’m a workaholic. I wake up and walk into the studio and I spend most of the day in there. I walk out and it’s time for bed. The activities vary wildly from day to day and I’m a little bit sad to say that there’s more computer work (editing videos, editing vectors in Illustrator, photoshopping project photos, answering e-mails, writing articles, etc.) than I’d like. But some days are just about making art and those are the best days on earth!

Your website states that you “believe that mistakes are creative opportunities.” We love this. Could you elaborate a bit on your thought behind this, for the readers out there who may see mistakes as failures?
If you never fail, you never succeed. Every amazing piece of art I’ve ever made has been built on the ashes of a failure. We are truly creative when faced with a mistake, and instead of aborting the project, we embrace the mistake and take the road less traveled. And knowing that you can come back from a mistake — that you can make an even better project after a mistake — well, that’s the most artistically empowering thing that can happen. Because then you no longer have fear. And fear is the most crippling thing that can happen to an artist. So, go ahead! Jump off that metaphorical cliff.

How long have you been using Copic markers? Why did you decide to start using them in your work?
I’ve been using Copics for about a year — maybe a bit more than that. I started using them because I wanted to airbrush. But I live in NYC, and something that requires a lot of space/ventilation just wasn’t an option. Copic’s airbrush system seemed like the perfect fit for apartment living!

How do you use Copics in your mixed media work?
They’re just another awesome tool to have at my fingertips.  I like that they (a) go onto slick surfaces of all kinds (b) are transparent (great for layering) (c) have virtually no drying time! And I particularly like how they mimic the look of spray paint, though in an transparent way, when used with stencils!

Any tips for Copic beginners?
I think Copics can be intimidating because you hear so much about the right way to use them and the wrong way, but I say jump right in! I encourage everyone to try the airbrush system. It’s intuitive and just totally addictive! So go ahead and buy the big box of markers and a compressor, because you’re going to love it!

What are your biggest sources of inspiration?
I love a lot of the usual sources: museums, window shopping, internet surfing…but the number one thing that gets me going is the question, “What if…(fill in the blank)?”  I love a challenge! And my most favorite moments have all come from one crazy thought colliding with a wildly impractical idea!

Who are some of your favorite artists?
Famous artists? Can’t get enough of Matisse. His economy of line, use of color, all just extraordinary. Robert Rauschenberg blows me away every time. The way he combines disparate elements and seemingly messy things into heavenly compositions is mind boggling. I stand in front of Klimt’s work for hours on end just sketching and absorbing
every tiny, shiny, lovely detail. I am lucky enough to live a few blocks from MoMA and I like to go and visit as often as possible because it is just so amazing!

What do you love about living in New York City? Do you feel that the
city influences your work?
New York is the greatest city in the world! And anyone who says otherwise doesn’t live in New York! LOL!  In all seriousness, I love New York. The rhythm of the city, the buildings lit up at night, the way energy pulses through every street, the food is amazing, the entertainment options are endless — there’s so much to love! And I think it influences my work in that I work very small.  Space is my constant enemy and my dreams of working large will have to be put off for now. I think I also over-detail things (I have a more-is-more art philosophy) because I’m so close up to it. And this is one of those chicken-egg things, but I find I’m not very inspired by the ocean or nature the way a lot of other artists are. Give me a building or some grungy graffiti and I’m much more at home. So am I not inspired by nature because I live in New York, or do I live in New York because I’m not inspired by nature?

Favorite holiday tradition?
The annual fight over whether or not to have a Christmas tree. It’s an epic battle every single year.

Learn more about mixed media in Julie’s self-paced online class, “30 Days in Your Journal.”

Also look for Julie’s column “Adventures in Arting” in the January/February 2012 issue of Cloth Paper Scissors magazine!

Find Julie on the web:
http://www.balzerdesigns.typepad.com/
http://twitter.com/BalzerDesigns

When did you begin creating art?
Back in pre-school, sticking coloured macaroni to paper plates and drawing with giant crayons… it’s just something I’ve always had to do.

What are your biggest sources of inspiration?
A lot of my work has been inspired by a yearning to escape to a world of make-believe, a place of nostalgia but also isolation. Recently I’ve been fascinated by traveling menageries, illusion and metamorphosis in Greek mythology.

How do you describe your work?
Bittersweet, subtle and delicately detailed illustrative work.

Has your illustration process changed over time?
There has certainly been an evolution in my process. I started out as a graphic designer, so initially this influenced my illustrative techniques, being quite reliant on layering with Photoshop and Illustrator. However, I became frustrated with the intangibility of computer- based work and started experimenting with the materials I had around me – scraps of water colour paper, pencils, gouache, letraset and even tea. I’ve now developed a more particular process, mostly working with graphite, Copic markers and ink on print making papers.

Why did you choose Copic markers for your illustrations?
I was introduced to Copic markers back when I was studying design at university for neatly rendering technical drawings, but it was just over a year or so ago that I started incorporating them into my illustrations, initially as a replacement for gouache and water colours. I’ve found them to be perfect for soft, muted tones, particularly skin tones and eye colours, and recently I’ve been using brighter tones for detailed colouring in feathers. I work over the top of the Copic marker layer with black ink and graphite to bring in further definition.

What are you working on right now?
I’ve just finished working on some pieces to exhibit, and now I’m back to commissioned work- putting together new prints for Element Eden, EP artwork for Australian musician Packwood and an editorial piece for Yen magazine. I’m also getting started on a collaboration with paper- engineer (and fellow Papered Parlour artist) Helen Friel.

Any exhibitions or shows coming up?
Currently I have a solo exhibition up and running at Retrospect Gallery in Broadbeach (Gold Coast, Australia), and I’m exhibiting along side Vitor Dos Santos at Libby Edwards Galleries in Melbourne (Australia), opening 13^th October. We’re also having an open studio weekend here at The Papered Parlour in London on the 22^nd and 23^rd October.

Any words of advice for new artists?
Just keep doing what you love.

View more of Kareena’s work at http://www.kareenazerefos.com/

Share your illustration work with us on Facebook and Twitter!

Joanne Sharpe has a layout from pages 66 through 70 entitled Making Magic with Markers that breaks down the Copic color coding system, explains blending trios and provides an exclusive black and white illustration for trying out the techniques yourself.

Joanne will be at the Create Retreat in Costa Mesa, CA May18-22 teaching the following classes:
“Color Blast Buffet” Art Journals
Color Me Creative Copics
Oh My Word! Artful Lettering Inspirational Journals.

Not signed up for Create Retreat?

There is still availability in Copic’s mixed media workshop called Ink & Art, this June in Indianapolis. The experimenting will go from 9am to 5:30pm and attendees are encouraged to bring their own collage materials to incorporate, such as favorite photos, magazine or newspaper clippings and copies of inspiring art. Some techniques to be covered include:

Copic & Bleach Bath
Found Object Resist
Layered Backgrounds
Hot Photos
Colorizing Transfers
Faux Batik
French Ribbon Dying
Tinting Acrylic

First please give us a bit of background Information-Where are you from, Education and Artistic interests?

I have no formal art training. Up until I hit 27, I my only artistic outlets had been music (clarinet player in several groups,) woodworking, and writing. My very artistic wife Teesha had started making hand bound journals, and it was through the freedom of keeping one of these on me at all times, that I began to relax and draw and doodle. It was a slow process, but now I cannot stand to be separated from my journal for any length of time.

What is your earliest memory of drawing or making art?

I doodled a bit in Elementary school. But I remember having a very negative art teacher in Jr. High that completely turned me off to art for many years.

What criticism from a teacher or mentor have you received on your work that really helped you develop?

My wife Teesha is brutally honest. And…shhh…don’t tell her this…haha…but she is almost always right. She has a clear vision that makes my head spin. She will look at something that I am working on and know instantly whether I need to take it further…or back off and stop. I completely respect this talent and have learned that while I don’t always agree at first…I almost always see that she was right when I put a little time on the clock and come back to it.

What inspired you to create?

Um…haha…well…my process mostly involves going to coffee houses and bars in between work meetings (I work in the construction industry)…and getting out my journal and playing in it. One of the things I love about the Copic Air Brush system is its portability. I keep a couple of the small air cans in my bag at all times and have no hesitation to whip them out and do a little airbrushing any where I happen to be. The air brush is a great conversation starter as well. I have met many interesting people while playing in my journals out and about.

What’s your favorite part about being an artist?

It is the worlds best stress reliever. I can be completely stressed out by work, life, whatever…and as soon as I open my journal and begin to doodle and draw and write, all my stress just fades away. It is a great soul cleanser.

What is the worst part for you about being an artist?

I rarely think of any negativity associated with being an artist. If I had to find something, I guess it would be the fact that I want to create art all the time, and I simply cannot afford to.

Who are some of your favorite artists?

Teesha Moore , Theo Ellsworth, Keith LoBue, Michael Deming, Sam Keith, Bernie Wrightson, and Bill Seink.

How did you come to know and use Copic Markers? Which are your favorites?

Years ago, we stumbled across Copic Sketch Markers and realized how amazingly long they lasted and how much we loved using them in our journals. Teesha used the Brush Tip ends for writing on her journal pages and I found and loved the Air Brush adapter. We began wholesaling them and taking them to the rubber stamp shows all over the United States with our company Zettiology Rubber Stamps. I do a lot of demoing and have a blast showing people how much fun, and how easy air brushing can be with the system.

Tell us about your upcoming Journalfest, how it got started and where it is today?

As for Journalfest, this event grew out of our love of journals, and journaling. We have a large art event we do every year up in Port Townsend Washington called Artfest. Every spring over 500 artists gather at this wonderful fort which is nestled right on the water. They come to be with a superb community like minded artists and participate in a great collection of classes taught by around 40 amazing teachers.
We have been doing Artfest for 12 years now, and last year we decided to put on an
event solely devoted to journals. Both Teesha and I have been avid journalers for
years. Our rubber stamp company, Zettiology was started all from random drawings
from our journals. We have come to realize that our journals are a driving force in most
of the art projects and events that we do. As such, it seemed only fitting that we plan
an event featuring classes relating to the making and filling of journals. Last year was a
huge success. One hundred and fifty journal enthusiasts gather here for classes, parties,
journaling, and a vendor night full of some of the most unique supplies and hand made
journals you have ever seen.

Visit Tracy & Teesha elsewhere on the web:

teeshamoore.com

zettiology.com

sustainedconfusion.blogspot.com

facebook.com/tracyvmoore

What is your earliest memory of making art?

When I was younger, I was always doing something artsy or crafty. I remember going to Ben Franklin with my grandparents and buying latch hook kits and art materials to make art. In elementary school, my dad got me a Badge-a-Minute machine, which I loved. I drew pictures and cut out magazine photos of Duran Duran to make buttons that I sold at the holiday craft fairs. I recall that, one of my favorite things to draw were pictures using repeating words. For instance, I wrote the word “butterfly” over and over to fill in the shape of a butterfly. Maybe, that encouraged my affinity for typography.

Growing up, I designed clothes for my Barbies, loved making fashion designs with Fashion Plates, made hair accessories, doodled on my Peechee folders and decorated my Trapper Keepers with collage. My love for papercrafting started at a young age, I started making handmade cards, scrapbooks & journals in 5th grade.  When I was 9, I taught myself calligraphy using a speedball book/pen set.  In high school, I designed and sewed most of my dresses for school formals by revamping my moms old bridesmaid dresses. I loved anything that had to do with art, fashion and design.

Do you have formal training or are you self-taught?

I am formally trained as a graphic designer. I received my Degree in Graphic Design with a minor marketing from Woodbury University in Burbank,CA.  As a designer, I was trained in color theory and conceptual design. But when it comes to collage, painting and book making that was self taught. In college, I took a watercolor and life drawing classes that were good foundation courses but nothing like the artwork I create today.

Can you briefly describe your creative process?

My creative process differs depending on the project. If I’m doing a theme-based project, I treat it like a graphic design project. I begin by creating an adjective bank, brainstorming and researching ideas relate to my topic. I create idea/inspiration boards to collect swatches of color, photos, magazine pictures, anything related to the project. Then I sketch out thumbnails and/or idea roughs and sometimes alter the artwork on the computer. If I’m designing a garment, I draw 5-10 sketches for the outfit with notations of materials and ideas I’d like to incorporate into the final piece. My mind is always working overtime when it comes to creating art. I like to sketch out my ideas for jewelry, class workshop ideas, lettering and project ideas so I keep a journal/sketch book by my side at all times.

When it comes to painting, I work randomly..free..without a thought of the end result. My paintings are very organic,  I consider myself to be very prolific when it comes to making art or designing journals.  I work fast, intuitively..letting the colors, tools and my imagination to take over. I work on several paintings or pieces at once. I find this helpful to not feel stuck or not know what to do next. It keeps my mind moving.

Here’s a little step-by-step of how my art is created: PAINT.COLLAGE.STITCH.MAKE

Most times I begin by painting abstract backgrounds on paper and fabric pieces ranging from 5×7 to 24×36. Playing with color,

drizzling paint, making marks with stencils, stamping and writing words with various art tools and supplies, pens, markers, oil pastels. Most of my paintings incorporate collage, I use black & white photocopies of my original art on the base layer, then paint and gesso on the top. My journal covers are made of patchwork collage covers using my product Collage Pauge to glue paper to fabric. The collages are randomly pieced together with wild freeform machine stitching to create the journal or art quilts.

Copic Markers are just one part of your art-making toolkit. I would guess you have a tendency to use whatever is accessible in your collage work. Can you describe your approach to art materials? What is the deciding factor on what you’re using?

Nothing is off limit when it comes to materials I use in my artwork. I do have a few favorite product lines I prefer when it comes to paint and markers. I mix a variety of mediums, pens and pencils in my drawings and doodles. As for painting, I use very simple tools when I paint…foam brushes, a few different size cheap paintbrushes and a brayer. I hand cut stencils with an Xacto knife out of discarded postcards and make stamps using self-adhesive fun foam from the craft store.  I have collected so many art materials over the years, now I use whatever is in my studio. I prefer to recycle paper, so I paint on found paper, paper bags, envelopes and paint over unused fabric. One of my favorite substrates are paper towels, I paint and dye them for my collages. I believe that you do not need expensive materials to create great art.

You are a busy entrepreneur and travel a lot. Can you talk a bit about how this came to be and how it facilitates your creativity and art making?

Before I became a full-time artist. I worked in Silicon Valley for eight years and my jobs took me all over the country. I developed a love for travel and told myself that when I had my own business I it would involve a lot of travel. I love to explore new cities, I love hotels, airplanes and meeting people on the road. So I when I started teaching, I set up gigs in cities that I wanted to explore or had family that I could visit. Then in 2006, when my first book Collage Unleashed was published, I set up my own book tour around the country, teaching workshops, offering demos and doing book signings. My book tour took me all over the world including Bali, Australia and Canada. The past few years my hectic travel schedule only allowed being home a few days a month. It’s a fun lifestyle but has many challenges to maintaining a healthy work/life balance. Being on the road, I do find it difficult to find time to be in the studio. I have learned to adapt to my environment and set up a mobile studio in my suitcase, I work in hotel rooms, on the airplane and in coffee shops.

What/who inspires your work?

There are so many things that inspire my artwork…a walk on the beach, flipping through a fashion magazine, making art with kids, a thought, an idea, a word, a photograph. I carry my digital and video camera everywhere. I take inspiration photos of interesting shapes, signs, art, flowers, etc. These photos make their way in my art through doodles, altered backgrounds and sketchbooks. I love old craft books from the 60’s and 70’s, I revamped techniques based on traditional macramé and latch hooking in the bindings of my journals. Fashion and magazines are a great reference for photography, color and images for the faces that I draw.  Typography is another one of my loves. I study letterforms and ad layouts for interesting ways to incorporate type and freestyle lettering in my art. I used to teach K-12 art and found that working with kids inspires creative freedom when creating artwork. Technology plays a big part in my life, I am always exploring new ways to incorporate it into the way I market my art and brand.
What advice or criticism from a teacher or mentor have you received on your work that really helped you develop?
I can’t recall much criticism about my art since I graduated from college a long time ago. But when I first started my career as full time artist and teacher, one of my mentors offered me great advice about staying true to my style {of artwork}. She said, “If you want to be successful in this career, share your art with the world…write articles, write books and teach people.” She taught me a lot about being a giving artist and teacher. In my workshops and in life I strive to inspire others with my art.

What’s the best part about being a full time artist?

There is so much about being a full-time artist that I love. The freedom of creating my own schedule, I have the flexibility to work anytime of the day or night. So I can go to the gym or do yoga in the morning and then work in the afternoon thru evening. I am blessed to be doing what I love daily. I am an entrepreneur at heart, so I am always looking for new business opportunities and exciting ways to further the exposure of my art and develop creative partnerships with manufacturers and other artists.

What is the worst part about being a full time artist?

There is not much I can complain about when it comes to my job. I have a career that most people would dream and love to do. The worst or hardest part about being a full time artist is probably not having a regular paycheck and no benefits like I had when I was working in the corporate world. Also, I find it difficult to balance creative studio time and business time. Now that I have so many other facets to my business, like licensing, online web properties and developing product, I find that it gets harder to spend time in the studio to just create and play for myself. Everything is driven by deadlines for writing, workshops or product, so I am not able to spend as much time creating as I would like.

Any classes or workshops coming up?

Yes, I teach a variety of mixed media painting, collage and art journaling workshops. I will be teaching throughout the US and in Tuscany in 2010.  It’s a much lighter schedule than in years past, I have decided to cut back on my live events to hopefully get back in the studio to paint and develop more porduct! I have also created a series of online workshops, which include downloadable color PDF lessons, videos, discussions and photo galleries. So for those who can’t travel to a live workshop, they can take a class from home. My 2010 schedule is available on my website www.treicdesigns.com.

If you haven’t heard about the 1000 Journals Project then you really should check out their site. I’ve had this book sitting on my desk for months and pick it up all the time for inspiration or just a quick visual break. It is a great reminder of the flexible nature of visual communication. Everyone has their own approach to mark making, drawing or doodling. There is a great deal of mixed media/ collage work in here as well. Makes me want to get up from the computer and go to my drawing table with nothing but a pile of old magazines, a glue stick and my favorite drawing tool.

From their about page;

The 1000 Journals Project is an ongoing collaborative experiment attempting to follow 1000 journals throughout their travels. The goal is to provide a method for interaction and shared creativity among friends and strangers.

How it Works:

Those who find the journals add something to them. A story, drawing, photograph, anything really. Then they pass the journal along, to a friend or stranger, and the adventure continues.

It has become pretty popular and so it may be difficult to get a hold of a journal to add to. Nevertheless, their FAQ page provides insight on how to be a part of it. Or you can get involved in the 1001 project, an extention which aims to provide more people with a chance to make art with others.