Gouache Class at OCCC Fall 2022

Create whimsical illustrations and paintings with gouache, a water-based medium that layers like acrylic and dries with a matte finish. Perfect for children’s illustrations, cards, and small paintings, this medium can bring to life all kinds of wondrous imaginings. Beginner-friendly class with live instruction on materials and techniques. Students can expect to end the class with at least 2 finished paintings. Materials list provided; materials are available from instructor (includes material fee).

Materials list provided; materials available from instructor (includes material fee)

Class Schedule:

October 20 – November 10 (4 weeks)
Thursdays
10:00 – 11:30 am

Registration fee: $xx
Materials fee: $25
Register at Oregon Coast Community College (coming soon)

Watercolor class at OCCC Fall 2022

Students will learn and practice skills in watercolor painting. We’ll practice using different tools and techniques to create layering effects for depth in subjects inspired by nature, and we’ll focus on skills for painting outdoors or in a travel journal. Over the 4 weeks, we’ll add techniques to build up to one or two final paintings, per student’s choice. Class studio time includes group reflection and instructor support and feedback to improve skills. Materials list provided; materials are available from instructor (includes material fee).

Materials list provided; materials available from instructor (includes material fee)

Class Schedule:

September 22 – October 13 (4 weeks)
Thursdays
10:00 – 11:30 am

Registration fee: $xx
Materials fee: $25
Register at Oregon Coast Community College (coming soon)

Gouache Workshop at Greenhouse Coffee + Plants

Paint with texture and color in this beginner-friendly gouache workshop at Greenhouse Coffee + Plants with Jen Hernandez Art. Be inspired by the lush plants and decor around you as you practice techniques in nature painting and illustration with gouache. Gouache is a water-based opaque paint that allows for smooth blending and layering of color to create vibrant and dimensional detailed artwork.

In this workshop, you’ll have everything you need to create illustrative artwork of plants and fungi.

Friday, October 14, 2022
Register at Greenhouse Coffee + Plants (coming soon)
Registration: $65

Bespoke Bookbinding II at OCCC Fall 2022

More bookbinding for beginners! We’ll practice 4 more bookbinding techniques including binding with old book covers, star books, long stitch, and decorative spines bookbinding. No previous experience needed (no need to have taken Bespoke Bookbinding I).


Class Schedule and Registration:

October 20 – November 10
Thursdays, 1:00 – 2:30 pm

Register at Orgon Coast Community College (coming soon)
Registration fee: $59
Materials fee: $35


Materials

Special materials and equipment are required for this class (click to see materials list).

Bespoke Bookbinding at OCCC Fall 2022

Bookbinding for beginners: In this class we’ll practice 4 different bookbinding methods from around the world to create our own unique sketchbooks and journals. Each class will include step-by-step instructions for each method, and live demonstration by the instructor. Create a travel watercolor journal, a sketchbook with pockets, a personalized diary, plus gorgeous decorative binding. 

Plus, extra tips and instructions for single-page books and zines on the exclusive class website.

Special materials and equipment are required for this class.
See class info and materials sheet for supplies and links.

Class Schedule

September 22 – October 13 (4 weeks)
Thursdays
1:00 – 2:30 pm

Register at Oregon Coast Community College (coming soon)
Registration fee: $XX
Materials fee: $35

Colored Pencils at LBCC Fall 2022

Explore the vibrant world of colored pencils in this class for all levels of artistic skill. Learn about techniques for blending colors, using solvents, and creating compositions based on references.

Practice skills that you can use to create landscapes, portraits, still life and more in this versatile medium, plus get practice in drawing skills with graphite pencil. Each week, live demonstrations will cover drawing exercises to warm up with, and then studio practice with real-time guidance and feedback.

No previous drawing experience necessary, this basics class will give you the starting ground to take off with your imagination..

See the class syllabus here

Class schedule:

September 27 – December 6
Tuesdays, 11:00 am – 12:20 pm
Virtual on Zoom (join from anywhere!)

Register at Linn-Benton Community College, coming soon
Registration fee: $XX

Materials

Suggested supplies:   If you do not have some of these supplies at home, and it is difficult to get them you can get by with the materials you do have.

  • Wax-based (recommended) colored pencils (instructor will primarily use Prismacolor and Faber-Castell; Crayola/ Rose Art, other brands are welcome)
  • Colors: Prismacolor Premier 24 set 3597T plus, Cream (PC914), Cool Grey (PC1061), French Grey (PC1074)
  • Water-soluble colored pencils, any brand (instructor will use Crayola watercolor pencils, Derwent Graphitint, and Derwent Inktense)
  • Pencil sharpener
  • Tortillons
  • Drawing pencil (any of 2B, 4H, 6H)
  • Kneaded eraser
  • Mineral spirits (Gamsol)
  • Small watercolor brush
  • X-Acto Knife
  • Inexpensive watercolor paper pad (9×12 or 11 x 14) (such as Strathmore or Canson)
  • Black and/or toned paper
  • Optional: tissue, cotton swab, paper towel (can substitute for tortillon)
  • Optional: Carbon transfer paper and tracing paper

Lane Arts Design Mentorship

Each quarter, I work with Lane county students on small group design projects. Our projects are lead by students to develop, design, and create web-based interactive stories and artwork. Students gain marketing and creatice skills for portfolios and career exploration. This program is coordinated by Lane Arts Council in Eugene. Find out more by clicking below!

See sign up info at Lane Arts Council
See past student projects at CreativeAccessArt.com/student-projects


Past Design Groups

Check out our previous design groups and see what we created!

Ink Illustrations at LBCC Fall 2022

Create illustrations for books, comics, cards and fine arts with inking techniques to express drama. Practice sketching, linework, stippling, shading and scumbling with one or more pens to create effects of depth and movement. This class is perfect for beginners who want to develop illustration skills or combine ink illustrations with other media like watercolor for journals.

September 27 – November 15, 2022 (8 weeks)

Register at Linn-Benton Community College (coming soon)
Registration fee: $XX

Embroidered Pride Patches

Tutorial Video + a brief history of crafting in social justice movements and resistance to oppression.

A Tangled History of Radical Craft

Often there’s one way to define Art that most folks can agree with: visual art, movement, poetry, music, installation, experience, culinary, film… All are ways for an artist to express their own perspectives, feelings or a statement and that others can connect to or perhaps create their own understanding by experiencing. Art is the communication between humans that works on our thoughts, emotions and physical reactions to connect us through creative means.

But what about craft? Can craft express the same way as Art? What’s the difference between craft and Art to begin with?

For Pride month this year, I made an art kit for a local youth library with celebratory embroidery and cross stitch crafts. It was so fun to create patterns and make little pride patches, plus coloring stickers, which are a big thing around here! I also did some research into the history of craft, starting from the concept of “craftivism” and I quickly learned that crafting has a long woven history with political messaging, resistance, resilience and social protest.

What is craft, and how is it different from Art?

Craft and Art are two sides of an art historical debate that has waged for at least the past 150 years, and probably much longer. Both Art and craft are creative practices in special skills that may imply talent and require dedicated practice to develop. The distinction is arguable, really, and is traditionally drawn along lines of use. Works of craft are made with creativity, but with utility— how the crafted object will be used– at the primary center of the object’s function. Works of Fine Arts are made with creativity, asethetics and message as the primary focus of the work. Fine Arts are things like painting, sculpture, collage, music, dance, poetry, culinary arts and we may find ourselves or our art history professors asking us “What is the artist trying to say with this work of art?” We rarely, if ever, aks the question of intent with crafts– things like woodworking, fiber arts, architecture, and foods like baking or beer; the intent of crafted objects seems obvious: to be used or consumed.

This distinction of use-focused v. aesthetics-focus has historically implied hierarchy, generally with the Fine Arts being more prestigious and important than craft. The Fine Arts are also historically much more white male-dominated and public – meant to be SEEN and experienced by the masses, whereas crafts have been thought of as feminine and including works that don’t require as much skill and are therefore underdeveloped, as well as domestic and personal.

Decorative design by William Morris

In the late 19th Century, in response to industrialization and mechanization of production, the Arts and Crafts movement in the United States and Europe, was lead by artists such as William Morris and John Ruskin, who sought to elevate the practice of designing and creating by hand to the level of Fine Arts. Ruskin and Morris idealized careful craftsmanship and high skill in the making of commonly used objects. The Arts and Crafts movement was overall a multifaceted ideological comment and in some cases rejection of industrialization, and in others a condemnation not of the use of machines, but rather the treatment of workers in factories to mass produce objects for use and disposal. The Arts and Crafts movement produced amazing works and academic study of architecture, furniture, and decorative arts like embroidery, but ultimately failed to “elevate” craft to the level of Fine Arts. Because Arts and crafts are different  in important ways.

The British art historian Rozsika Parker writes about the shared history of embroidery and femininity in her book, The Subversive Stitch. In it, she describes works of craft as personal expressions. As crafts like fiber arts were largely handled by women starting in the Victorian era, they became expressions of women’s daily lives in that context: caring for families and domestic concerns. Women were largely excluded from political and public action and so their works were also excluded from commentary on social systems at large, unlike the male-dominated Fine Arts. And it’s because of this exclusion and distinction that craft has a valuable role in subversion and resistance of those systems. Groups like the British Suffragists and the youth counterculture of the 1960’s both used craft, particularly embroidery to make statements against the hegemonic patriarchal systems they struggled against.  “[E]mbroidery showed that the personal was the political – that personal and domestic life is as much the product of the institutions and ideologies of our society as is public life.” (Parker, 205)

Suffragist embroidered banner.

Parker’s book was published in the mid-1980’s, and she was looking back on the new Women’s Lib movement of the 1970’s, focusing specifically on the experiences of white heteronormative women. Beyond the scope of Parker’s research, crafting has been intricately woven with movements of resistance throughout history. 

In the United States, handwork crafts and specifically fiber arts is particularly entangled with slavery, as often enslaved people were highly valued if they had skills in fiber arts, passed down through generations spanning back to communities in Africa. Story quilts with geometrical patterns originated with enslaved people, preserving cultural memory and legacy. White slave owners appropriated quilting practices, which became symbols of white southern domesticity.

Coded quilt made by Sharon Tindall

Despite this, quilting was used as a tool of resistance against the oppression of slavery to mark safe houses on the Underground railroad, offering beacons of freedom to enslaved people. Ruth Terry, in a 2019 article on Medium, connects research in neuroscience that suggests needlework supports mental health resiliency in coping with trauma, and that enslaved women who would knit and sew together may have experienced these benefits in the midst of generations of slavery and abuse.

A photo of the incredible Sojourner Truth shows her sitting serenely with her knitting laying across her hands, a symbol of skill, patience and calculated precision, the same which she used to defy the atrocious history of slavery in the United States and liberate enslaved people.

Quilting continued its legacy of memory and preservation in the face of certain annihilation into the late 20th century.

In 1987, gay rights activist Cleve Jones created the first panel of the AIDS Memorial quilt in memory of his friend, Marvin Feldman and in response to the devastating AIDS epidemic that had reached its height in the mid-1980’s. The quilt had been conceived as a way to remember the names of the lost, and public response was overwhelming as people throughout the US sent panels to the San Francisco workshop and donors supplied sewing equipment to construct the quilt. The quilt was first displayed in 1988, and has since grown with continued contributions. In 2019, the quilt weighed 54 tons with nearly 50,000 panels, each memorializing a beloved that had been affected by AIDS. 

In 2003, while a sociology student at Goldsmiths College in London, Betsy Greer created the term “Craftivist” as she wondered how she could help others with her knitting and fiber arts work.

It was just about connecting the dots that were already there, really, as I had studied conceptual art while doing my undergraduate degree in the late ‘90s and knew that what we make can tackle different issues. When I started knitting, I started looking at the ways in which I could help others with it, which at that time, meant making items and donating them to charities – something my grandmother had done for years, as she made hats for new infants at the local hospital she volunteered for. In that way, what we make has the chance to create changes in the fabric of our world, whether it’s knitting a tiny baby hat or doing something on a larger scale.

— Betsy Greer

In 2018, Greer curated an exhibit at the MODA in Atlanta, collecting works by artists and crafters on issues of social and political inequalities. 

These objects show how deeply the makers care about the various issues, by the time spent and ideas shared. It is my hope that, shown together, the works help people talk about difficult issues that the show may evoke or get people thinking about how they can express their feelings with what they can make with their hands.

— Betsy Greer, describing Making Change at MODA

The Yarn Mission, a community knitting collective, formed in 2014 following the murder of Mike Brown and the protest response in Ferguson, Missouri. The collective is focused on community organizing and providing safe spaces for Black protesters to be together, and support each other, all centered on shared knitting practices.

Knitting kept hands busy, calmed spirits, and created a positive point of connection between complete strangers brought together by the protests. Eventually, Ferguson protestors and residents became like family, working together to keep streets clean, get to cars safely, and ensure everyone had necessities like toilet paper.

–Taylor Payne, qtd in Ruth Terry’s article on Medium

This is so far only the beginnings of the research I’ve collected on crafting as expression and resistance. There’s so much more I want to share and write about, and I’ll continue crafting this post with more resources on craft as expression and craftivism in the following weeks throughout Pride month!

Links!