WORKSHOPS
Teaching a weaving workshop in Delray Beach, Florida
"We thank you for inspiration, exhilaration and motivation to do something different in fine art."
"I enjoyed the workshops and I loved your way of abstracting a painting."
NANCY 'S STUDIO
in Ithaca, New York. Works well with groups of 6
Various views of weavings in progress:
also see the short video you can access on the home page (approximately four minutes long)
Watercolor weaving might sound like a lot of (needless?) work. Sometimes my first or base painting is so strong that I am afraid to cut it up. Most times it's worth it, but I'll admit to having ruined a few along the way.
I often paint conventionally at the same time that I am working on a weaving, partly for something new to do and partly to get a little relief from what can be a very intense experience (all those strips...wild when they aren't yet glued down). The weaving process has lots of steps, so it is easy to stop here and there and tackle a "regular" watercolor.
But, in the end, I love the process for it does what no ordinary watercolor can do--express rhythm and motion visually and tactilely. I find myself understanding what subject matter is worth a try and what just won't work. A week doesn't go by than I see or think of a new subject for a weaving.
WORKSHOPS:
I have been giving watercolor workshops in Ithaca as well as in various locales across the country for the past seven years on an occasional basis. Now that I am no longer teaching art history, I am available for more regularly scheduled workshops. Normally, they last for four days, although I have given weekend ones as well.
Why take a weaving workshop?
Watercolor artists often experience two failings: tightness and fear of trying something new. My workshops help overcome these problems. First, artists discover that, to make a weaving (explained in full below), one must create a very simple image, avoiding detail and small changes of shape and color. As you'll note below, the image has to be created at least twice. Highly realistic and detailed painting will not work, thereby freeing the artist to think and paint elementally. Second, one must cut up one's images entirely--that will cure anyone of the "fear" of painting! Best of all, many students come up with terrific weavings in a short period of time. Some become fully committed to the idea of weaving and have informed me subsequently of winning awards for their use of the technique.
Click here for Materials List.
I also do introductory watercolor workshops. These begin by emphasizing the fluid, spontaneous quality of the medium and move, with a few steps, to an understanding of how to control watercolor -- as much as possible (there never is total control!)
Click here for Materials List.
IF YOU ARE INTERESTED IN A WORKSHOP, CONTACT ME AT nancy@nmaas.com. Thanks.
Description of the Weaving Process
The weaving technique works well for a variety of subjects, including land and waterscapes, florals and other subjects. My favorite paper for this technique are 140-pound Arches hot- or cold-pressed papers.
Once I’ve selected an image I want to paint, I decide whether to work on a half or whole sheet of paper. After I’ve completed the painting, I eyeball it and extemporaneously paint a similar painting of that same subject. If the painting is very large, I double the paintings to four. The size of each "equal" image is rendered on slightly different sized paper, depending on whether it will become the horizontal or the vertical matrix of the image.
When I’ve completed the two images, I cut them into strips, one vertically and the other horizontally. For me, strip cutting relies purely on intuition; I have no set plan when I begin to cut, but usually divide the first painting into vertical strips of varying widths, These are then attached with artist’s tape to a foam core board, leaving a little space between each strip.
After the vertical painting is set, I work on the horizontal one, cutting it much more adventurously. For example, some strips may be wavy and very irregular, depending on the subject matter. I then interlace both sets of strips, hoping that they " weave" together somewhat successfully. What follows is quite a bit of editing. I may rearrange or remove some of the strips, thereby tightening or loosening the image. These adjustments can take me weeks. Once in a while, a subject just won’t work so I toss the strips into my handy basket of scraps.
No major repainting takes place, since the small size of the strips restricts water flow. However, I do make minor corrections. Sometimes I’ll patch a weaker area with strips of stronger imagery, utilizing a strip from my basket of scraps.
Once I’ve established the final image I experiment with colors of matboard, a process that takes more time. After a choice is made, I carefully glue the lacy image onto a museum matboard using archival glue.This is tricky and merits demonstration. To be brief, one has to be very careful in positioning the work since once it’s down, it’s down! Then I cover it with sheet glass and put weights on top overnight or longer..
When framing a watercolor weaving, it's best to leave adequate breathing space between the painting and the glass or plexiglas. Shadow boxes and recessed frames generally work well for these textured works. Sometimes I mat my works, but I like to leave the irregular edges visible. Finally it's done!
A fuller account of the process and how I backed into it can be found in my article, "Expressing Energy with Woven Textures," WATERCOLOR, Summer 1996.
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