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October 8 - Martin Museum at Baylor -
Part 4 - Small Wood Sculptures, 1980-2017”
Danville Chadbourne was the Texas
artist for this exhibit. His earliest sculptural works were
predominately made of clay, then he began combining clay and wood in his
designs, “the notion of contrasts became an important part of my visual
Danville moved from New Mexico to San
Antonio in 1979 and taught at the San Antonio Art Institute. Along the
years in his work, he began creating small, carved, whittled or
constructed wood sculptures. He feels it important to use wood that is
normally discarded or rejected, like warped lumber with knots, cracks or
stains, also using woods most easily available to him.
living in the northern mountains of New Mexico he began using wood from
Aspen Trees. Then he also began to use red cedar from his father’s farm
in Central Texas. He liked the red cedar because of the varied colors
and its scent brought back strong memories of his childhood. Presently,
Danville mostly uses Ligustrum and Chinaberry wood, which are common in
the areas of San Antonio. In this exhibit the types of wood are pine,
cedar, pecan, mesquite, hackberry, fir, sycamore, mahogany, oak,
cypress, bois d’arc, yaupon, redwood, ebony, poplar, cardinal wood,
teak, maple, acacia, pear, purple heart, cryptomeria and bamboo, along
with numerous unidentified found pieces of wood.
In the beginning, his idea was to
produce small objects with natural wood, but through the years the sizes
grew as he started to introduce color by using different types of found
objects. This change caused his wooden pieces to be more complex and
larger in scale. Presently he has found his balance in the creation of
small and large objects.
was a very interesting exhibit, causing many of us to linger and wonder
at the delightful ideas presented in the pieces! We were fortunate to be
able to see these works of Danville Chadbourne, which will be on display
until November 12th.
The Martin Museum of Art is located in the
Hooper-Schaefer Fine Arts Center on the Baylor University campus.
Admission and events are free and open to the public. Museum hours are
Tuesday-Friday: 10am-5pm, Saturday: 10am-4pm, and Sunday: 1-4pm. The
museum is closed on Mondays, during Baylor University holidays, and
September 10 - Lance Magid - Framing
Art Guild of Central Texas was pleased on Sunday, September 10, to
welcome Lance Magid from Studio Gallery in Waco as our demonstration
artist. Lance’s father, Mike Magid began to build frames for his
brother/Waco artist, Don Magid’s paintings and Don’s art students in
1969. Mike and his wife, Pat Magid, both Certified Professional Framers,
opened Studio Gallery in 1970. Through the years, they and their son,
Lance, have developed new ways to perfect their crafts of building of
frames and producing frames that are in themselves, works of art. Their
framing literally hangs on walls all over the world. From modern
apartment walls in New York City, to 300 year old walls of a Tuscan
villa, and even inside the Swedish Embassy.
also restore old or damaged frames and paintings, as well as old
photographs. Lance restored a painting that sunk with the Brazos Queen
into our Brazos River and stayed there for 3 months. He said there was
silt and lots of other lake debris covering the painting and frame, but
eventually, after several careful processes, the painting emerged from
the shop looking like new! For our demo, Lance explained his process in
building "Custom Frames", and showed us some of his framing materials.
He also explained his method in making closed corner frames.
1. Cut and put together the
4 pieces of molding to make the frame
2. Add any "compo" if
3.Gesso the frame
4. If you plan on gold
leafing the frame, you have to paint on the "sizing" (glue used for
5. After the sizing has set
for 12 hrs, you may start putting the leaf on the frame
6. Use steel wool to take
off some of the shine of the gold and reveal some of the gesso
7. Shellac the gold leaf
8. Paint on the Super
9. Take off some of the
paint to reveal gold/gesso
10. Wax the frame with
11. Rottenstone and polish
uses Compo, which is kept in the freezer until use. It is a clay-like
material that molds to the frame after heating, and covers the seams. He
uses a Red Clay colored Gesso to cover the frames, then a sizing which
enables metal leafing to stick. He passed around some examples of gold
colored metal leafing sheets, a very fragile substance. Sometimes he
even uses real gold leafing, depending on the requests of customers.
After the leafing process, he buffs with steel wool, enough to reveal
some of the red clay color. It is possible then to use Stage Paint,
Blackout Black with water in various mixtures from 1 x 1 to higher
percentages of the water. Lance explained that, presently, the gray
frames are still popular, along with floating frames.
We were so fortunate to
experience this demonstration by Lance Magid. Our thanks to him, to
those providing refreshments, and to those who brought their art for
Show and Tell, some of which is shown below. We are especially happy to
welcome new member Jackie Holmes among those who brought art.
Santos Maldonado Janet Martinez
May 7- Richard Skurla - Oil Landscapes
The Art Guild of Central Texas
was pleased to welcome Richard Skurla as our demonstration artist on
Sunday, May 7. Mr. Skurla is a 1979 graduate of
A&M University. He worked as a computer programmer, and began to paint
in his spare time. In the late 1980’s, Richard decided to work full time
as an artist. Richard received his BFA from the University of Texas
Arlington. In 2011, he received his MFA from Stephen F. Austin State
University, and through his extensive study of the great artists of the
German Expressionists, French Fauvists and New York School of Abstract
Expressionists. He has developed his own unique style of expressionism
and terms himself as a “Neo-Expressionist.” He also enjoys experimenting
with form, material, texture, and color in order to create vibrant and
exciting 3-D works of art that he calls Volumetrics.
During the demonstration, Richard
showed us his method for creating his small paintings. He also shared
many gems of wisdom, including which areas geometrically to avoid
when laying out your painting sketch, limiting your use of white, and to
bring your Primary and Secondary paints along with you when traveling.
He also suggested that we learn how to build a webpage for our artwork.
He also addressed the concept of “critique”, and how, as artists, we
must learn to keep in check our “egos” and remember that critique is a
vital learning experience for all artists. He stated, “we should not
worry about having our feelings ’hurt or attacked’, and embrace the
benefits of critique as a critical pathway to artistic learning and
Richard does not use an easel for
this type of small painting. He chooses
to paint on a flat surface. He creates his own painting supports. These
supports are a special type of constructions made of paper (Strathmore
Acrylic 246 lbs attached to Crescent Perfect Mount archival board). He
then applies 3 coats of Golden Black Gesso with a 2-1 mix of Gesso with
Golden Pastel pumice onto a taped area (using Delicate Painter’s Tape)
on the paper. After the 3 coats are completely dried, about 72 hours, he
has a surface on paper that will accept oil paints.
and his wife were in Paris and purchased a painting from a gallery that
was the 1st
one to exhibit works of Pablo Picasso. His palette is a piece of plywood
that was used to pack and ship a painting they purchased while in Paris.
The painting was NOT A PICASSO, but a landscape by a local artist. Once
the support is ready for paint, Richard would tape off a portion of the
Gessoed surface leaving a small black square. He used Carpenter’s
Delicate Release tape to cover the white unpainted border and extended
the tape over about 1/8 inch of the edges of the black center portion.
this point, he begins to apply his oil paint over the exposed black,
using various brushes and palette knives to build up layers of oil
paint, starting with the translucent colors. He usually uses 13 colors.
He is not a fan of earth tones, but does favor the cadmium colors and
mixes the paint with either Liquin or Liquin Impasto.
the paint was dry, he very carefully peeled the tape straight up and
away from the border, he was careful not to tear the paper, which left a
white border around the painted section in the middle. The 1/8 inch
strip of black gesso showed at the edges of the oil paint, gave the art
a 3-D illusion. He stores his leftover mixtures in foil packets,
pressing out all the air, which allows the paint to stay fresh for a
learned so much from Richard Skurla. It was an extremely interesting
demo! He sold his Demo painting (shown at the ight) to Myrl Luper, who
then carefully took it home to dry. If you want to see more of
Richard’s work, he has a website:
Waco Tribune did a piece about him at:
Thanks to all of you that
attended! Although we didn't have time for Show and Tell this month,
some the art brought by members is shown below.
Cathy Niekamp Christine
Niekamp Andrew Nystrom
April 7 & 8 - Art on Elm Street Exhibit & Sale Booths
A number of Art Guild members exhibited in the Art on Elm
exhibit. The works of some were scattered about on several panels, so
the photos below don't show all, and some of the works shown are by
other artists. The sixth photo shows works of a former member.
Bill Franklin (all 3) Judy Franklin (bot L & mid
R), Judi Simon (bot R) Sandra Scott (top 2)
Judi Simon (2 on R)
Chesley Smith (top R & bot 2)
Julie Cash (all 3)
a newly returned member, Harley Johnson, had a booth on the street,
where he had dozens of paintings on for sale. The photos below show his
kin attending the booth and some of his art.
also an separate exhibit of children's art, a couple of which are shown
reception on Friday evening was very nice. Shown here are the food table
and Jeff Horton, who provided music throughout the evening.
April 2 - Annie Mathis - Computer Graphic
Design and Painting
Annie Mathis, a junior computer science major at Baylor,
and a former student of John Perdicci, explained and demonstrated her
work in graphic design and digital art. The tools which she used were
her computer, and a programmable wireless Wacom tablet and pen.
She explained that the pen has two buttons which can be used for a
variety of functions. The tablet's four buttons can be set to any
keyboard combination. She also uses Photoshop which comes with most
tablets. The tablet can be customized to all the different applications
on the computer. She makes use of keyboard shortcuts also.
said that graphic design and digital art are quite different and are
employed for different purposes. Graphic design is created for
communication or display, often for commercial purposes. Characteristics
a successful logo are simplicity, an edited or original font, clean
lines, and color related to content. An example is shown at the left.
Frequent consultation with the client throughout the design process is
important. She frequently uses a layering technique, so she can
experiment with different options without losing the original design.
There is a functionality for masking in Photoshop, whereby the interior
design cannot stray beyond defined borders.
art and illustration are a cross between free hand drawing and graphic
design. First a free hand sketch is made on the tablet and dimmed. The
lines are then cleaned up using a layer through which the dimmed sketch
can be seen. After that colors are
on to achieve the desired effect. To illustrate this technique, Annie
sketched a dog on the tablet. She carefully corrected the sketch to
feature the exact lines which will appear in the final drawing. (Shown
at right.) The base layer of color was then applied. By changing the
opacity of the pen and altering the color, she created shading and
highlights. (Shown at left.)
creative art many different digital techniques can be employed to build
the unique style the artist desires. Annie showed her “painting” of
Eponine of Les Miserables
in which she used a base color and shape for the hair, then added random
colors for depth. Varying the pressure of the pen she drew individual
strands of hair which tapered to a sharp point at the end. For the arms
and shirt, she started with the shadows to get the contours, then added
the basic colors. She used “smudging” to create an
undefined background. She used Photoshop techniques to vary the width
and opacity of the “brush” strokes. She showed how she mixed colors by
a sophomore at Baylor, she won a prize for the computer painting of a
bear shown at the top right. She completed the drawing with an Apple
iPad Pro, which was within the confines of the rules for the contest.
She drew in each hair of the fur by hand. For her dog (Shelby),
the left (where the left half is a photo and the right half is her
painting), she put on the base color, then drew each individual hair.
She compared the dog with a wolf she had done earlier, shown at bottom
right, which she considered too static, showing improvement in her
ability to create realism.
showed us other examples of the art including a graphic art poster
she designed for the short film, The
shown at the right. Also, a dog portrait on
which she drew the fur by hand, which is shown at the left.
dog painting won 2nd place in the Waco Top Young Artist competition when
she was a sophomore in high school.
We were all in awe of
Annie's talents, are grateful that she shared her art with us, and wish
her well as she continues her creative work. You may want to see more of
her work on her web site
If you have questions, you may email her at
We want to thank those who brought refreshments, and
those who brought art for Show and Tell, some of which is shown below.
Show and Tell:
Judy Franklin Santos
Christine Niekamp John
March 13 - May 10 - Art Guild Exhibit at MCC
Try to drop by the foyer of the
Performing Arts Center at MCC to see our current exhibit. Although the
number of members participating was fewer than usual, there is still a
lot of good art to see. A preview is shown below, but it's best to view
it in person, and at night when there is no glare from the day lit
windows. To get more than visual art, you can also take advantage of the
music and drama events in the evenings. The events all begin at 7:30.
The concerts are all FREE!
There is a modest price for the dramas. A list appears below.
March 31 & April 1 Opera: Hansel and
April 4 Student Jazz Concert
April 10 Country Band Concert
April 11 Rock Band Concert
April 17 Guitar Ensemble Concert
April 20 Wind Ensemble Concert
April 24 Vocal Tech Concert
April 26-29 Drama: Henry V by Shakespeare
Works shown in order from left to right
Blackwell & Nancy Cagle
March 12 - Regular Meeting - Cheryle Chapline,
Chapline's watercolor paintings have a depth and luminosity that give
life and interest to her work. She demonstrated the underpainting
technique that she employs to achieve that result. She paints with a
limited palette from which all her colors are derived. For the
underpainting she uses lighter paints that can be lifted with water;
yellow, cobalt blue, and permanent rose. For the darker topcoat, which
is called local color, she uses New Gamboge, alizerin crimson, and
French ultramarine blue. Burnt sienna and cerulean blue are also added
to her palette. She typically uses Winsor & Newton paint and
Silver/Black Velvet squirrel and synthetic brushes which she orders
online. Her paper is Arches 140 lb. Cold press. She uses an industrial
chamois cloth to absorb excess water.
begins with a detailed pencil drawing of her subject. She uses masking
fluid to preserve white areas if her subject calls for it. She holds a
large, pointed brush in each hand (one with color, the other with clean
water), although she trades them since she only paints with her right
hand. She lays hard edges with the color brush, then uses the water
brush to soften one side of the color stroke. She begins by applying
to areas of the work which will be the lightest. After that is dry, she
applies cobalt blue to areas she wants darker. Lastly she applies
permanent rose. Since it is a staining color it can only be lifted off
if it's put on top of the other paints. Each layer must dry completely
before another is applied so the colors don't run together and become
muddy. She then adds the local color allowing the underpainting to show
through in strategic places.
passed around examples of finished paintings which showed how the
underpainting created depth and a glow that would be absent if she had
just applied flat color. Two of her paintings were featured in the
periodical Splash, and those were shown to the group. One of these was a
painting of her calico cat, Emma. Her underpainting colors were glazed
over each other to create an optical mix. She skillfully used masking
fluid for some of the fur and the whiskers. Each new color was laid on
with just one stroke.
today's demonstration, Cheryle began with a pencil drawing of a Japanese
magnolia blossom. She said that determining the focal point is an
important first step, and that
a floral it is usually the center of the blossom. She applied Aurelian
yellow on the side where the light came from. Cobalt blue was applied
next, then permanent rose. After applying paint on one side of the
paper, she moved to another side so the colors would not combine to
create unwanted color. She then used local color to darken some areas to
add variation in value.
worked slowly and deliberately, and it was a joy to watch the painting
assume shape and life as she applied the underpainting and local color.
She sent an update of the demo painting (at right). It's still not
completed, but you can see how the local color is influenced by the
underpainting. (Click on the thumbnail to enlarge
the image - for this and almost all images on our site). Cheryle teaches
and demonstrates in the Waco area, and it is easy to see why her work
has achieved national recognition. If you are interested in taking
lessons from her, write her at
email@example.com. Many thanks to Cheryle for her intriguing
demo. Thanks also to those who brought refreshments and art for Show and
Tell, some of which is shown below.
Show and Tell
Cathy Niekamp Christine
Niekamp Chesley Smith
February 12 - Artist Reception at Carleen Bright Arboretum, 1:30-3:00 pm
seemed pleased with the show. Refreshments were provided by the
Arboretum and Mary Behrens. David Smith, shown at the right, the Trib
arts columnist, critiqued the entries, pointing out good features that
might well have otherwise escaped notice - even by the artists
themselves - and enlightening us all. He selected five favorites for
merit awards, shown below with their ribbons.
6-March 13 - Art Guild Exhibit at Carleen Bright Arboretum
We have a
very nice exhibit, with 31 pieces by 16 artists. The Artists' Reception
will be our February meeting. It will be Sunday, February 12, 1:30-3:00.
David Smith will critique the works during roughly the last half of the
meeting. Please come at 1:30 so that there will be time to view the
exhibit, converse, and nibble snacks prior to the critique, which needs
to have our attention.
of the exhibit follows. It begins to the right of the front door and
proceeds to right around the room. Some of the images have been
assembled from several photos to eliminate windows and other
interruptions. The works cannot be fully appreciated from this preview.
They need to be seen up close.
Karen Groman top, Christine Niekamp below,
2 by Tim Lowe in the center, Pat Blackwell top, Nancy Cagle below
Nancy Cagle top, Santos Maldonado below,
Sandra Scott, Sue Young, Pat Blackwell top, Santos Maldonado below
Judi Simon right & left, Christine Niekamp
in the center
Mary Behrens left & center, Nancy Cagle
Sue Young, Larry Garza
Larry Garza, Gloria Meadows
Judy Franklin left & right, Sandra Scott
Bill Franklin left & right, Janet Martinez
Chesley Smith left & right, Janet Martinez
2 by Kay Lamb Shannon
January 8 - Jo
Anne Norwood - Russian Iconography
In 1998, Jo Anne began
taking classes in Russian iconography from Vladislov Andreas. She
explained that she begins with a plaque of recessed wood which
represents the Tree of Life. Linen cloth is then applied, representing
Life itself. Next comes a coat of gesso, representing the Light of God.
A layer of clay (which symbolizes that man was made from clay) is spread
on parts of the gesso. It is the base for the gold, and is burnished to
allow the gold to stick to it. The many layers of paint are applied to
the remaining gesso. The paint is made by combining pigments with
a binder, which is made by combining the egg yolk inside the yolk
membrane with wine. The pigments are all derived from natural elements.
In the finished icon there will be 22 very thin layers. Each layer has a
religious meaning, contributing an important aspect to the finished
Anne uses specific religious designs from the 11th Century.
She uses carbon paper to lay the design on the prepared board. Then she
draws the images with India ink. When a thin layer of paint is applied;
it is pooled, not brushed, so that the pools run together to mix the
paint. The first layers of paint incorporate the grit in the pigment.
These layers represents the Chaos of Life. She uses a pipette to get
paint for the top layers with no grit. Highlights are then applied in
three layers, each covered with a layer of
paint layer to obtain a lighter and softer image
paint to tone down the image. In contrast to much Western painting, the
light source comes from within the figures, representing the Soul. Gold
leaf is applied, parts are burnished with agate mounted on the end of a
stick, and parts are left unburnished. She forms the circular halos with
a compass. A partially finished icon of Christ is at the right. A
completed one is at the left.
are meant to be thought-provoking, and are found in Christian churches
of many denominations. Two of Jo Anne's works hangs in St Matthew”s
Lutheran Church in Waco. The finished works are called “writings” not
paintings. They are meant to glorify God, and not the artist, so they
are not signed on the front. Jo Anne received permission to sign her
works on the back, using the following wording: “Written to the Glory of
God by Jo Anne Norwood.” Jo Anne's finished works are exquisitely
rendered. She gave us all an appreciation for the symbolism and
inspiration that these beautiful icons contribute to the worship of God.
were honored that Jo Anne shared her works with us, and greatly enjoyed
hearing her describe the many steps required to produce them. Many
thanks, Jo Anne. Thanks also to those who brought refreshments, and to
those who brought art for Show & Tell. We voted on Which of those would
be on the postcard invitation to the Artists' Reception at the Arboretum
on February 19. The winner was Larry Garza's Eagle, shown at the left.
Judi Simon and Judy Franklin tied for 2nd place. All of the entries are
Show & Tell:
Santos Maldonado Christine Niekamp
December 3 -
We met at
BJ's at 11 am & ordered from the menu. Happily, Sandra had printed up
BOGO free coupons for everyone, so it was an inexpensive treat. A lot of
visiting went on, but in relatively small groups, since we were spread
down a long table, and there was a fairly high level of background
noise. Still it was a pleasant end of the year get-together. See photos
November 13 -
Barbara Bessire - Silver Clay Jewelry & Ice Dyed Fabrics
Bessire is an instructor at the Just Because Bead Boutique in Temple.
She also gives classes for her ice dyed fabric and her precious metal
clay jewelry at her studio in Hewitt. Her daughter, Michelle, helped
Barbara at the presentation by setting up and assisting in many ways
much anticipated meeting! Members and guests were very deeply focused
during Barbara’s demonstration. We learned a lot, asked many questions
and viewed and handled many beautiful pieces of jewelry and ice dyed
fabrics. When making the soft and pretty ice dyed scarves, she folds
them in half before tying and dying, so the two sides will be the same.
She also showed some of her colorful ice dyed wall hangings. Barbara was
wearing a cotton dress that she also ice dyed. She uses reactive dyes,
ice and soda ash in the process.
brought examples of her beautiful fused glass jewelry. If we were
interested in learning the technique, she recommended for us to take
classes where she teaches in Temple, “Just Because Bead.” They have a
larger and varied supply of specialty glass and bigger kilns recommended
for the process. Barbara presented a large assortment of her gorgeous
silver jewelry. She also showed us a little silver foot that she
developed after making a mold at the hospital of a newborn baby’s foot.
What a keepsake for that family!
told us that metal clay was developed in Japan in the 1990’s. It is made
of microscopic particles of pure silver or fine gold powder etc., mixed
with an organic, nontoxic vegetable binder that burns off during firing.
This was first achieved with gold and later silver. In 1995 metal clay
was brought to the United States.
had packages of different metal clays as you can see pictured at the
right. Each package of clay had specific firing instructions on them.
She mentioned that when firing glass with metal clay, a lower
temperature must be used or the glass will melt. Original Precious Metal
Clay (PMC), now referred as Standard, shrinks 30% after firing. PMC &
PMC Flex have 15% shrinkage, PMC3 has 10-12% shrinkage. PMC PRO is a
harder product with more silver content, it must be kiln fired in
activated carbon. PMC Sterling has 10-15% shrinkage, has some copper
content and requires a 2 step firing process
is first rolled and shaped and then imprinted in various ways. Michelle
worked at readying small disks/charms of the silver clay for our
projects. Some of us used the decorative buttons she supplied for us,
first spraying a lubricant onto the button so it wouldn’t stick to the
clay. After imprinting, Barbara used an Exacto knife to cut away any
stray pieces (it can then be recycled.) The clay must first dry and then
she fires the jewelry in the kiln. She uses a tumbler to polish the
metal after firing.
took our imprinted silver discs/charms back to her studio for firing and
will return them to us at a later date. What a treat! Many thanks to
Barbara and Michelle! We look forward to a return visit to show us more
of her work! If interested in taking Barbara’s classes, you can contact
her at “Just Because Bead” or by email at
firstname.lastname@example.org. We also thank those who brought refreshments
and those who brought art to share, some of which are shown below.
Show and Tell:
November 10 - January 9 - Art Guild Exhibit
We have 30
works by seven members on display at in the foyer of the Performing Arts
Center at MCC. We prefer to have more artists represented, but some of
those who participated brought extra works, so the space is nicely
filled. The entries are shown below as hung from left to right. Of
course they are best seen in person, preferably in the evening when
there is no glare from the windows. You can do that by attending one of
musical events held there. Those currently posted on the mCC web site
are below. Others will probably be added. You can look for them at
Dec 2 7:30
MCC Wind Ensemble Concert
Dec 5 7:30
Waco Jazz Orchestra Concert
October 28-29 -
Apple Tree Bazaar
Shown are a few photos of
the Art Guild booth. One shows Sandra Scott. Also helping were Karen
Groman, Ellen Foster, Myrl Luper, Kit Travis, Charleen Isbell, and
Chesley Smith. In addition, Pat Blackwell and Tim Lowe had their own
October 9 -
Member Art - Show and Get Help
month for our demo, we focused on our own art rather than have something
brought to us by a presenter. There was so much enthusiasm and good
interaction between our artists. We had fun with each of us presenting
some of our completed pieces of art, or those in progress, and musing
over the suggested ideas.
Nancy Cagle (left) showed two acrylic paintings, an
abstract and a small wooded scene.
Foster (right) presented an oil painting of a bluebird, some members
suggested that she darken the area around the belly of the bird,
creating more contrast.
Travis (left) brought an acrylic painting of a covered wagon being
driven through a river. She wanted to know if she should paint the sky
lighter, and the consensus was that she should lighten the clouds.
Blackwell (right) brought an abstract design etched mirror, many
correctly guessed that it was a man lifting barbells. She also had a
very cutely painted mouse that used to be a rock.
Behrens (left) showed us a painting of a big golden seashell and wanted
to know how to make the seashell look more lustrous. Some suggested dry
brushing yellow-tinged white in areas for highlight, and darkening the
dark areas. One suggested to varnish only the shell, leaving the other
part of the painting unvarnished. Myrl Luper is shown making a
Isbell (right) had an unfinished oil painting of Elvis, she was having
trouble getting the features to look like the original photo. Many
suggested changes to placements of features and more shading on the
Smith (left) brought some finished and unfinished acrylic works of art,
some with a combination of acrylic and watercolor. He starts with his
colored pencil sketches to work out his designs. He is shown with a
painting of African women carrying baskets, and the sketch he began
with. We gave color ideas for one part of this painting. He also had
some unfinished wood plaque paintings of different objects.
Niekamp (right) proudly presented a completed oil painting of her
parent’s scenic driveway. She also had a small wooden box and on the
side she had painted an oil portrait of a woman wearing sequined
Perdichi (left) had 2 items made with urethane Foam. The plaque was one
of 1500 that he made for the Stitzel-Weller Brewer in Louisville,
Kentucky. The other piece was sample of the hound dog figure that he
made for the Hush Puppy shoe company.
Meadows had an unfinished pastel drawing of an eagle, she wondered if
she could use hair spray to protect the top part from smudging while she
worked on the rest of it. Some thought that would work, or also a
workable fixative spray.
She also showed a lovely painting of cactus and a bird
on top of a front gesso-coated burlap canvas.
Lowe brought an unfinished painting of the “Last Supper.” He is trying
to learn how to get faces painted correctly.
He also showed us some beautiful shots taken as an MCC
photography lesson, with his new camera.
Scott asked for advice on placement with her under-painted, unfinished
oil painting of her son and grandson. Chesley Smith suggested she make
the fishing rod more obvious and put a float on the string, which would
help to move the eye across the canvas. John Perdichi is shown offering
Should we do this once a year in the future? Let us
know what you think in November, when we elect new officers for 2017.
September 11 -
Christine Niekamp - Portrait Sketching
Christine was born
and raised in Waco, Texas. She has been doing artwork since she was a
child and eventually earned a B.S. in Elementary Education and Art from
Baylor University. For most of her career, she produced fashion
advertising ink drawings as well as wrote copy for many department
stores including Cox's, Monnig's, Goldstein's, and Holt's. When the
fashion industry changed and artists with her talent were no longer in
demand, she became a touch up artist for Olan Mills Photography Company
until she retired.
brought a few examples of her quick sketches, landscape paintings and
oil portraits including the “Glamour Portraits” that are born of her own
imagination. She also brought a few examples of her painted rock
critters. They are shown at the right.
When doing a sketch
for a painting, Christine never uses a pencil directly on the canvas, as
she says it
can cause more destruction to the surface. She also never uses
charcoal because it dirties the paint and makes the colors dull. Instead
she draws a very simple sketch on a piece of properly scaled/measured
tracing paper and rubs the back side with the side of the pencil. Then
she tapes and presses the back of the paper onto the canvas and goes
over her drawing with a dull pencil, which transfers the lines to the
this Art Guild demonstration, Charleen Isbell volunteered to be
Christine’s model for a Quick Draw pencil sketch. Christine used a 2B
graphite pencil, drawing paper and she had a gummy rubber eraser that she did
not need to use.
is a good judge of where to start her drawing on the page without
needing to draw partition lines or ovals. She began her portrait sketch
by drawing one of the subject’s eyebrows and one eye, then the bridge of
the nose and down. She then proceeded to the other half of the face,
leaving the perimeter outline for later. When working on the hair, she
uses the side of the pencil for a soft effect and also to show shadows
in the face.
answered questions from the attendees and finished the drawing in 30
minutes. It’s always instructive and enjoyable to watch the way that
others develop their drawings, and this was no exception.
We want to thank
Christine for taking the time to give us an interesting demonstration.
And thanks to all Art
Guild members that brought such wonderful works of art to show at our
meeting. Some of the contributors are shown below with their paintings.
Show and Tell:
May 15 -
Chesley Smith - Collages
in Waco, Chesley Smith has been involved in art education for 40 years
as a teacher in Waco schools and as head of the art department at Paul
Quinn College in Dallas. He holds both bachelors and master’s degrees in
art education, and he has exhibited widely across Texas and elsewhere.
Since 1986 he has had 13 solo exhibits in numerous venues around Texas,
has contributed to dozens of other exhibits, and has produced a number
of commissioned works. He has also exhibited at the Hippodrome in Waco,
which has bought several of his works through the years.
several of his art collages with the group. There were 4 different
categories; Silhouette Collages, such as the one in the above paragraph,
Repurposed Collages, like that at the left, Mixed Media Painted Collages
and Celebrity Paper Collages. He always starts with picking the color of
the background for his artwork, he uses Acrylic spray paint and sprays a
piece of stiff paper. Then he selects pictures that go best with that
the Repurposed Collages, he often uses torn bits of his old paintings
arranged in an interesting matter onto a textured paper background. With
his Mixed Media Painted Collages, like that at the right, he often
paints over the connecting pieces of collage with designs, or uses
another small piece of collage to break the lines.
his Celebrity Paper Collages, like that of Elvis Presley at the left, he
draws outlines of famous people onto his already painted background
paper, then he paints the inside the outline of the face with his
desired color and uses interesting bits of torn or cut magazine pages to
fit the borders, and to shape into facial features. Chesley chose to
demonstrate for us a simple standard Silhouette Collage. He always
selects a picture with an interesting outline, such as an interesting
face, horse, eagle, etc.
this demo he presented an outline of a horse, similar to that at the
right, that he had drawn onto a heavy drawing paper. He had previously
flipped the drawing onto a light table and traced the drawing of the
horse from front to back. He says he prefers to use watercolor pencils
for this because the lines behind the drawing are less discernable from
the front than if using regular pencil.
He took a couple of pages out of
an old magazine that he felt looked interesting and cut them into
strips. He flipped these strips onto a protected surface and sprayed
with Adhesive and then pasted them onto the drawing, being sure to cover
the outline, as shown at the left. He then cut out the image from the paper, using the lines
on the reverse side, with scissors and an Exacto knife, leaving a
collage-covered image of the horse. The cut out horse is shown in the
paragraph below. This image would then be glued onto
a painted stiff paper background, before matting and framing.
his years of experience, Chesley has found that what many buyers desire
in a painting is some type of emotional attachment to the picture,
perhaps capturing a moment of time in their lives. Our thanks to Chesley
Smith for giving his time to share this most interesting and very
enjoyable demonstration with the Art Guild. Thanks also to those who
brought refreshments and those who brought art for Show and Tell, some
of which is shown below. Many thanks also to Sandra and Mark Scott, who
provided the narrative and photos for this report.
Charleen Isbell Santos Maldonado Gloria Meadows Christine
Niekamp Kit Travis
April 10 -
Violet Piper - Pastel Techniques
Violet Piper began our
program by showing us a box of pastels which were her mother's.
though they were over 100 years old they were still perfectly usable.
She also uses pastel pencils which she keeps sharp with a strip of
sandpaper, as well as pastel
which can be purchased at art supply stores. She used black pastel paper
and white transfer paper which she purchased at Hobby Lobby. She said a
pastel artist may use paper made for charcoal drawing, but it is lighter
in weight than pastel paper. Her pastels and paper are higher quality
artist grade, not student grade. She said there are differences of
opinion regarding the use of fixative spray. She doesn't use spray, but
others said that Aqua-Net Hairspray does a good job without much effect
on the look of the work.
had a completed pastel work of a cat inside an overturned bucket with
apples that had spilled out, shown at the left. She also had a series of
the same subject in sequential stage
of development. She began with a drawing placed on black pastel paper
using white transfer paper, shown at the right. Beginning at the top of
the drawing, she avoided dragging her hand through anything she had just
colored. She carefully filled in the light areas with a white pastel
added some dark with a black pastel pencil. She smoothed and blended the
chalk with a Q-tip to
a soft effect, shown at the right. She then added and blended the colors
of the apples, using her palette of red, blue, and yellow. She continued
to work on her drawing, explaining her techniques and answering
questions as she worked. At the left is the image at the end of the
demo, although it wasn't completely finished.
We thank Violet for showing
us the versatility of pastels in creating beautiful works of art. We
also thank those who brought refreshments and those who brought art for
Show and Tell, some of which are shown below.
Show and Tell:
Karen Groman Santos Maldonado
April 9-10 -
Art on Elm Ave, art exhibit and street fair
An artists' reception
Friday evening provided time to view the art, visit with artists, and
eat scrumptious finger food. Free for exhibitors, $15 for others. The
exhibitors included Judi Simon, Chesley Smith and Judy and Bill
Franklin. Some of their work and a few other pieces are shown below.
Chesley Smith Judy Franklin
Genaro Barron David Rosenbaum
March 14- May 5
- Art Guild Exhibit at MCC
We have a great show at MCC
in the foyer of the Ball Performing Arts Center. There are 28 works by
11 artists. It has wonderful variety and plenty of artistic merit. A
catalog appears below, but to see it best come in the evening when there
is no window glare and the spots light the art nicely. The time to come
is when there is an evening performance. The concerts are of high
quality and are all FREE! The opera and theater performances are
inexpensive. They all begin at 7:30, except as noted. The schedule
April 1&2: The Magic Flute
(Mozart opera) $12 Adults, $10 Students and Seniors
April 5: MCC Jazz Orchestra
April 7: Faculty Duet
April 11: Country Music
April 12: Rock Music
April 14: Wind Music
April 18: Vocal Techniques
April 20: Percussion Music
April 21-22 Theater "Doubt"
(also April 23 at 2 pm) $10 Adults, $8 Students & Seniors
May 2: Waco Jazz Orchestra
Others may be added.
Our Exhibit, beginning at
the left end and proceeding to the right:
Karen Groman (1), Judy Franklin (2)
Charleen Isbell (2), Nancy Cagle (1)
March 13 Julian
Rosas - Cyanotypes
Rosas presented a fascinating program featuring cyanotypes, a process by
which a surface is coated with a mixture of chemicals and when dry, can
be used to make photographic prints. A reference such as a print on
transparency film or other object is placed directly on the treated
surface. The photosensitive paper then is exposed to UV light or
sunlight to produce the cyanotype print, which is typically a cyan-blue
color as shown at the right.
gave a detailed explanation of the historical development of this unique
art form. He mentioned Sir John Herschell, who experimented with
photosensitive emulsions of vegetable pigments. Henry LeSecq made
cyanotypes of Chartres Cathedral in France. Anna Akins published a work
containing 250 captioned cyanotypes of types of algae in a book,
Digital technology has advanced so that cyanotypes can be made in a
variety of colors. Mike Ware is famous for his work, and he treats his
paper with a solution of iron compounds: Potassium ferricyanide and
are many safety precautions that need to be followed when using the
chemicals because they are extremely toxic. A well ventilated work
space, and eye and skin protection are critical. The process is as
Fill both containers of powdered chemicals with water to create A
and B solutions. Shake until dissolved. Let sit for 24 hours.
In low light mix equal parts of both containers. Mix only what you
need right away, because the sensitivity when mixed is only 2-4
Coat the surface of paper or fabric with the mixture. Allow to air
dry in a dark place for 24 hours.
Once it is dry, you can create an image by laying a transparency of
a photo or an object (Leaves and flowers are often used.) on top of
the surface and making an exposure under a UV light or in sunlight.
Leave for several minutes.
Remove the objects and wash the surface thoroughly. Blot dry.
You might need to repeat the process using more or less light or
exposure to get the desired results.
had treated and dried paper for participants to use as a surface. He had
made several transparencies from which to choose or we could gather
botanicals from outside. We made our prints on the sidewalk in the
bright sunlight. We then took them inside, and Julian washed them. The
image appeared on the paper as if by magic! It was a delightful
presentation, and we wish Julian all the best as he heads off to study
art at Texas Tech. Our thanks also to those who bought refreshments and
art for Show and Tell, some of which is shown below. We had a bumper
crop this month!
Show and Tell:
Judy Franklin Gloria Meadows
Myrl Luper Santos Maldonado Cathy
Niekamp Christine Niekamp
Judi Simon Chesley
February 21 - Art Guild Exhibit Reception at the Arboretum
Smith, who writes a weekly arts column in the Trib, critiqued our art
again this year. His insights were greatly appreciated by our those in
attendance, especially those who had works in the exhibit. He selected
the following five works for merit awards:
Lion by Judi Simon
by Bill Franklin
Travis by Christine Niekamp
Beard Smart by Sandra Scott
Player by Chesley Smith
selecting favorites is a matter of personal choice, and another person
might make very different selections.
February 14 - Kay Reinke - Flow Acrylics Painting
Reinke, demonstrated her techniques for abstract painting using fluid
acrylics and pouring medium, media which were new to most of us. Kay
began painting as a child, taking lessons at the art school of the
Houston Museum of Fine Arts. Until recently, she painted mostly
landscapes in oils, then went to acrylics for more flexibility. In an
effort to paint more loosely, she recently took up flow acrylics and
fluid acrylic inks. These produced abstracts that she really pleased
her, and which she has greatly enjoyed. An example is at the right.
passed around samples of her work with fluid acrylics and pouring
medium. She said
that the paint should dry slowly. If it dries too
quickly, it will develop cracks (crazing), although this can be
interesting also (example at the right).
applies several layers, letting each layer dry thoroughly
before applying the
had some ink works on yupo paper which she didn't consider very
successful, so she cut them up into 1” strips, wove them into a square,
and mounted the square onto cradle board (example at the left).
Sometimes she puts different kinds of paint and medium into a ½ egg
carton, turns it upside down, and pours it out all at once.
showed us an example of her work entitled “Aquifer Rising," shown at the
right, which was featured in the book
Acrylic Works 2 – Radical
The original of this work was recently on display as part of the WOMEN
IN THEIR ELEMENTS exhibit, at Art Center Waco. Featured were Kay's works
and those of two other artists. Her work will appear in
a book to be published soon.
She showed a chart which
she created testing the flow rates of various types of fluid acrylic.
The chart is at the left.
on it enlarges it enough to make the labels readable. From most viscous
to least, the samples were Holbein and Golden fluid acrylics, Golden
high flow acrylic, FW acrylic ink, and Liquitex acrylic ink. The
substrate can be watercolor paper, yupo paper, canvas, canvas board and
glossy photo paper. Glossy surfaces are needed for the inks. Adding a
pour medium can increase the fluidity (reduce viscosity). Adding water
is not a good idea, since it dilutes the color. Many of the above
materials can be found at Hobby Lobby or Michaels, others can be found
on the web.
her demonstration, Kay placed a piece of parchment paper on top of an
upside-down baking sheet. She placed a sheet of yupo paper on top of the
parchment . (The baking sheet was so she could move her
around easily, and the parchment was so the yupo paper would lift off
without sticking.) She shook the acrylic, then let it rest a bit, so the
bubbles would settle out. She poured out different colors on separate
areas of the paper and
added pouring medium which helped the colors flow gently into each
other. The pouring medium will dry clear and shiny. Kay emphasized that
the paper must be kept level and the paint left to set up and dry on its
A few stages of her demo are shown here. Since she had to move it when
it was still wet, it changed during transport, and she added additional
pours. She sent the image at the right, saying that she might not
yet be through,
it has clearly changed a lot since the demo. During
the break everyone was encouraged to come to the front to see her work
up close. While she was working a video camera projected the process on
a wall. After the break she showed how the fluid could be spread further
using a straw or stick. Several people experimented with these.
Kay encouraged us to blow
through a straw or use canned air. Also, you can use a scraper, palette
knife, old motel room cards, and anything for texture. You can also make
skins for collage by pouring fluid acrylic paint or ink onto plastic
wrap, or a plastic sack, waiting for it to completely dry, then peeling
Kay brought a unique experience to the Art Guild, and we
appreciate her willingness to share her time and talent with us. Thanks
also to those who brought refreshments and art for Show and Tell, some
examples of which are shown below.
Show and Tell:
Bill Franklin Judy
Franklin Charleen Isbell
Sandra Scott Judi
Simon Chesley Smith
February 8 - March 14 - Art Guild
Exhibit at the Arboretum
We have a great show!
Thanks to all who contributed art. We have great items from both old
standbys and new members. Unfortunately three works were not hung
because they were not properly framed or lacked hanging wires. A word to
Since the reception is
February 21, you might want to wait until then to see it, but it's
available M-F 9-4, Saturday 10-2, and sometimes Sunday, when there isn't
an event going on. There are many events, however, so call before
driving over there (399-9212).
A quick look appears below,
starting to the left of the entrance and moving to the right around the
room. The resolution is too low to allow a real appreciation of them. Go
to the Arboretum for that.
John Perdichi & Judy Franklin
Pat Blackwell & Judy Franklin
Charleen Isbell & Christine Niekamp
Kay Lamb Shannon
Bill Franklin & Pat Blackwell
Bill Franklin, Christine Niekamp & John
Sandra Scott, Tim Lowe & Judy Franklin
Judi Simon & Sandra Scott
January 10 -
Pat Blackwell - Stained Glass
presenter this month was Pat Blackwell, a well-known local artist. She
several of the techniques she uses to create commissioned pieces for
windows in homes, businesses, and churches, as well as articles for
sale. She brought several of her finished pieces for us to enjoy, some
of which are shown here. She had on display several different types of
glass, many of which were in glowing colors of cobalt blue, and bright
red. Some pieces were textured in various ways. She gets clear glass
from local home improvement stores and usually purchases her specialty
glass from Hollander Glass Co. in Houston.
create her pieces she first designs and draws her patterns on paper.
Then she uses a Sharpie to mark the design on glass. She cuts out the
design using glass cutters and glass cutting oil. She breaks off large
pieces with running pliers. Grozing pliers enable her to trim off small
bits of glass without breaking the whole piece. She uses a grinder to
smooth the edges, wetting them to keep them cool.
After the design is cut,
she uses copper foil or lead to wrap around the piece. The foil is
pressed down after it is wrapped. Different forms of wrap-around lead
lead nips. She places the wrapped piece on a tile and solders the lead
at the joints to hold it in place. For this she uses 60/40 solder and
classic gel flux. For hangers she forms a loop by wrapping pre-tinned
copper wire around a small paint brush, removing it snipping off a
partial circle, and soldering the resulting loop onto the lead or
copper-wrapped glass piece. After the piece is finished she cleans off
flux with Kwik Clean and glass cleaner.
displayed several kaleidoscopes, which she loves to make from Pringles
or coffee creamer containers and bits and pieces of colored glass left
over from her larger works. She purchases mirrored glass at Home Depot
She drills a hole in the
metal end of the container and inserts an electrical grommet into the
hole. After removing the plastic lid, she inserts a circle of clear
the way inside the container. She measures and cuts three strips of
mirrored glass each about 1 1/2 inches wide and tapes them into a
triangle, wiping them to remove impurities. She inserts the triangle
into the container, leaving room for the glass pieces at the lid end. It
is secured in place with cardboard circles with triangular holes for
the mirror group or with styrofoam pieces wedged between the mirrors and
the can. A second circle of clear glass is inserted to rest on the
triangle and glued into place with E6000 glue. Then on top of the clear
glass she puts enough colored glass pieces that the view will mostly be
colored glass, but leaving enough space for the pieces to move around as
the tube is turned. After the plastic lid is replaced, the kaleidoscope
is ready for use.
Thanks to Pat for showing
us all the steps in the process - making it look easy! Thanks also to
those who brought refreshments and those who brought art for Show and
Tell, some of which are shown below.
Show and Tell:
Nancy Cagle Charleen Isbell
Tim Lowe Christine Niekamp
Jukian Rosas Sandra Scott
Chesley Smith (chosen for the postcard!)