Fantasy Landscape Gouache Painting @ Common Fields

Let’s make some fantasy landscape paintings in gouache at Common Fields!

This Fall, we’ll make dazzling, colorful and fantastical landscapes at Common Fields. Perfect for beginners, small groups, teens and adults, this workshop includes everything you need to start making fantasy landscapes with gouache!

Come join us on Monday, November 7, 2022 at 6:00 pm
at Common Fields in downtown Corvallis

In this 2-hour workshop, we’ll practice with gouache, a water-soluble paint, to create illustrative landscapes to inspire stories, and fantasy. References, paint, paper and equipment are all included.

No painting or drawing experience needed for this laid back art making night!

Food and bevergaes are available at the locallyowned food carts at Common Fields.

This painting workshop is open to beginners and experienced painters, teens and adults. Registration is $25 per person
All materials provided and included.

Uh-oh! This class is maxed out or has already started! Check back again for more classes from Jen Hernandez Art!

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

Register at Oregon Coast Community College

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
Registration: $65

Journal Practice: Frida Kahlo & Retablo Art

Note: Some of the artwork included in this practice may be disturbing or triggering to some viewers, including images of violence, physical harm, and psychological trauma.

Recommended for teens and adults, ages 13+, use your own judgement for yourself and your students.

Frida Kahlo’s Retablo-Style Art

I never paint dreams or nightmares. I paint my own reality.

Frida Kahlo’s body of work consists of frank depictions of struggle, pain, disability, heartbreak, longing, and ambivalence between social and societal constructs. In some of her work, she draws on Mexican folk art for deep personal expression in retablo-style paintings. Retablo paintings traditionally depict Catholic saints, made to adorn the space behind the altar of churches. In the 1870’s, Mexican craftspeople adapted retablo art for personal use and display in homes (Rosengarten, accessed 2022). These versions of retablo art depict personal moments of tragedy and struggle that have been overcome, and as an expression of gratitude to religious figures: Christ or Catholic saints. Frida Kahlo’s use of the style is non-religious, taking the traditional structure of the retablo to emphasize personal identity and mythology in her subjects, including her own personal experiences (Merotto, 2020).

Kahlo was an avid collector of retablo art, filling her home with hundreds (Rosengarten) or maybe thousands of pieces (Merotto). Her seeking out retablo art for her own collection and to inform her work was certainly inspired by her love for Mexican folk tradition, which is notable as well in her choice of dress and iconographic symbols that populate her artistic works. Kahlo was also likely drawn to the deep emotionality of retablo art, and its combination of divinity with the experience of suffering (Rosengarten). Retablo art also represents the “syncretic Mexican popular identity” (Merotto) as it combines Spanish-Catholic art with pre-Spanish traditions and moved out of churches into the domestic visual cultural realm. In her artwork, Kahlo was ever occupied with her own syncretic identities as mestizo, bi-sexual, politically active and living with disabilities.

The folk art retablo style is characterized by flat perspective, with a composition portraying a scene as if it were being acted on a stage, and bright colors painted on metal or tiles (or otherwise easy to access materials). The visual space is usually divided into thirds vertically, with the bottom third being a space for written text describing the incident, the middle third depicting the incident, and the top third depicting the intervening saint. Realism in depiction is not a priority, rather the emotional experience of the participants in the scene, including pain, fear, suffering, relief and gratitude are highlighted. 

In Kahlo’s retablo art, we see quite frank and often graphic depictions of pain and struggle, and usually the overt absence of supernatural intercession from a saint or religious figure (Merotto). For Kahlo, her experiences and her artistic representations of those experiences stayed firmly within the world she could sense. She emphasizes physical details, grounding her and her viewer in the reality of the event.


Journal Practice

This journal practice is about creating narrative in visual artwork, focusing on sensory details and the storied layers of lived experience: what was the experience, what was the outcome?

Time needed: 30 – 60 minutes

Think of this as a meditative creative process, in which you can make choices for how you want to respond to the prompts and access your own lived experience. 

This is a visual arts practice including drawing and writing, but you do not have to have an established drawing practice to try this out. You can also use these prompts for different kinds of art practices. See the description below for adaptations.

Materials needed:

  • 2 journal pages
  • Writing implements (pencil, pen)
  • Drawing/ painting implements
    • Colored pencil
    • Watercolor, brush
    • Markers
    • Crayons
    • Pastels
    • Chalk
    • Gouache
    • Acrylic

Prompt:

Think of a time when you struggled through something difficult. Perhaps a disappointment, a heartbreak, grief over a loss or the fear of something you couldn’t control.

We don’t like to think of these memories. For some of us, the pain of these memories can be like experiencing them again. Personal resilience is built up through having these experiences and making them part of a full life, learning from them and continuing on with them, but not being held back by them. 

If those kinds of memories are too difficult for now, you can think of an experience that isn’t necessarily sad, but perhaps was difficult. Some ideas might be moving homes, overcoming an obstacle, healing from an injury.

From this memory, write down what you remember. 

  • Create two columns, one for objects around you in the memory, and the other for feelings and thoughts you had through the experience. 
  • Divide the two columns into thirds, vertically. 
    • The bottom third will be just before the event of the memory, what the circumstances were, what was happening. 
    • The middle third will be the time of the event, what happened in the moment of the struggle, which could be a long period of time. 
    • The top third will be after the event, the resolution and moments of resiliency when you were through the experience of the event. 

You can use words or sketch doodles for these boxes. Using doodles will help you build a visual library for your painting and illustration work.

On the next page, you’ll draw or paint your experience, capturing all three moments of time and as much visual information as you can remember, using your notes and doodles from the previous page. You can split the scene into thirds, vertically. 

  • The bottom third will be a place to write about the event. You can start here by writing out the basic story of the event, including what led up to it, what happened, and how you were able to learn and grow from the experience. 
  • The middle third will be the main scene of the event. You can place yourself in this part of the image, experiencing the event, including the objects and people that were around you, and your emotional feelings represented by facial features, body postures, objects or icons, even words. 
  • The top third will be the moments of resiliency. In religious versions of ex-votos, this is where the image of a saint or angels might be. You can use religious visual language or your can use your own visual language, picturing yourself after the event, in your moments of resiliency, more knowledgeable for the experience. What are you grateful for after the experience? You don’t have to be grateful for the experience, but are you grateful for the people who supported you, the communities you became a part of, what you learned about yourself?

As you draw and write, don’t worry about perfection. Don’t worry about making people look a certain way or using the right words. Focus instead on the objects, feelings and thoughts in the experience. Use color, pencil, erasers, markers. Set a timer for yourself for 3, 5, or 10 minutes and keep drawing for the entire time. If you feel like you’ve finished before the timer has ended, just keep going. If you feel like you want to keep creating after the timer has ended, keep going!

The practice, inspired by Frida Kahlo

Frida’s art is powerful because of her personal expression and stark emotionalism. Creating emotion in art is one way to make a connection with viewers of your art. If you don’t plan to show the artwork to anyone else, it can also be a way to connect with your own creative expression. 

While we focus on moments of sadness and pain in this exercise, you can explore other emotions and experiences as well – anger, fear, longing, regret, joy, peace, confusion, apathy. The opportunity to explore multitudes of emotions is one of the privileges of consciousness and creativity.

Adaptations:

  • Literary art – write out your list of objects, thoughts/ feelings, and use those words to describe the experience in prose or poetry.
  • Story crafting/ Comics – create an experience for a character and list out the sensory and emotional experiences for them using the prompts. 
  • Sculpture/ 3D art – use shapes and forms as stand-ins for emotions, sculpt objects from your experience that hold significance.
  • Collage – collect magazines, newspaper, pages of old books or printed images from online, cut them out and combine them on your journal page to depict your scene. You can focus on collecting and assembling words, images, colors, shapes.
  • Abstracted painting – as you write out your list, ascribe colors, textures or shapes to each word or element of the memory. Use that as your visual library to put your abstracted composition together, paying attention to harmony, balance, and contrast between your elements.

Further Reading & Watching

In the Absence of Miracle: Frida Kahlo’s Subversion of Retablo and Ex-Voto Tradition, Hasta, Tia Merotto, November 11, 2020, http://www.hasta-standrews.com/features/2020/11/11/in-the-absence-of-miracle-frida-kahlos-subversion-of-retablo-and-ex-voto-tradition (accessed 12/22/2021)

In the Study: Frida Kahlo’s Transformation of the Retablo, Richard Rosengarten, https://www.societyarts.org/in-the-study-frida-kahlos-transformation-of-retablo.html (accessed 12/22/2021)

An Introduction to “Miracles on the Border: Retablos of Mexican Migrants to the United States”
https://youtu.be/UwZvgFW746M

Community Art for Relationship Building

I’m taking a look back at the community art projects I led over the past year with a couple of my favorite community organizations, and I’d like to share some of my tips for planning and developing art projects for community groups.

I approach community art projects differently from my classes in schools or with small groups, although the goals are similar: access to art practices and materials, engaging creative processes and building relationships.

In the case of community arts, I focus mainly on relationship building, letting the art project be a foundation for coming together, like a family meal or celebration, but with paint! For me, this shift in focus means that I want to keep the art projects open-ended and low-risk so that participants can engage with the projects based on their own comfort and skill level and focus on relating to the others around them, sharing ideas and creating space to be together, virtually or in-person. These projects are open for any level of engagement so that if someone wants to really dig into the project, they can be there right alongside another person who just wants to sit back and observe how others work with the materials. There’s actually room for anyone in these creative spaces.

With relationship building in mind, I focus on specific elements when selecting materials and methods for community art projects:

  • Accessible materials – something we have in abundance or can be easily collected and shared.
  • Open-ended instructions – I like a project that can be done in 3 – 5 steps, maximum, with the option to build on a practice or explore materials more.
  • Time-investment accessibility – these projects should be something someone can do in 2 minutes, but could also spend 20 minutes or 2 hours, if they wanted.

And, since this is a relationship-building experience, I try to consider basic needs as part of the art project: how will folks arrive to the project (transportation); will there be food/ resources available for them; are the spaces physically accessible, safe and comfortable; are the instructions and plans for the project accessible (consider spoken or reading language, understanding pictorial instructions).

In 2021, I had monthly art projects between a few different groups, coordinated with a couple of local nonprofit organizations. Here are a few standouts that were really fun and some of the planning that went into them:


Pour Painting at Jackson Street Youth Services
– Space for Learning Together

Community art projects are often great opportunities to experiment with new artistic practices for me. Since I focus on togetherness and exploration rather than mastery of materials or skills, I can try out practices that I don’t have a lot of experience with already and help set the tone for trying something new. This has been a way for me to learn new skills and lean into curiosity with art materials while also enjoying community building. Pour Painting/ flow acrylics was exactly that kind of experience for me. By practicing this with Jackson Street Youth Services– a local nonprofit serving youth in the community with safe shelter, case management, and community enrichment– I was able to join in with the community in experimenting and learning about an art form I’ve long been curious to try!

I did research ahead of time and tried out my own paintings before bringing materials to the group, but by the time we had our afternoon class in the summer of 2021, I had probably only made 1 or 2 paintings myself.

I knew enough to set up the project and make suggestions to the participants, but I was also able to keep back too many suggestions and allow participants to experiment freely.

Materials for Pour Painting

  • Flow acrylic paints in various colors
  • Flow acrylic medium
  • Small dixie cups
  • Stir sticks
  • Canvas panels of various sizes (8″x8″ and 4″x4″)
  • Painter’s tape
  • Silicone oil
  • Gloves
  • Aluminum baking trays and lids (like for a turkey)
  • Plastic table cover
  • Foam brushes

Set up & Tips

  • Individual spots: I set up each spot with a baking tray or lid, and showed participants how to turn dixie cups upside down to prop up their canvas panels (this allows the paint to flow down over the panel and into the tray)
  • Priming the canvas: The paint pours more evenly if there is a layer of wet paint on the canvas first, so I showed participants how to use the foam brushes to paint the canvases with a thick layer of paint before pouring.
  • Mixing flow medium with paint: I started out by showing participants how to mix the flow medium with the paints in the dixie cups, using a 3:1 ratio medium to paint (or whatever the instructions on the paints/ medium suggested).
  • Mixing colors: I had several different colors, including the typical blue, red, yellow, white and black. If participants wanted a color we didn’t have, I showed them how to mix paints together in the dixie cups BEFORE adding the pouring medium.
  • OR! Participants could mix up separate colors with pouring medium and then pour different colors+medium into one cup to create a marbled effect.

Group Painting at Corvallis Multicultural Literacy Center
– Opportunities to Grow in Relationship

The CMLC is a special organization to me, and one that I am quite honored to serve as a board member (at the time of this writing, I’m the new board chair). The work of this organization is about sharing educational and community resources for folks arriving to Corvallis from outside of the US. As a university town, we do tend to see a lot of international students and their families, but our organization also supports folks who are arriving to Corvallis for permanent residence and to pursue citizenship.

As I became a new board member this summer, I was in good company with other new members and staff at the organization. I wanted to get to know the people who were also invested in the organization and to also share my interests in community building through creativity by hosting a group paint session.

I set up this group paint event to focus on sharing creative space with one another, and for the opportunity to connect and talk with each other. For that reason, I specifically avoided a more standard paint with me tutorial, and instead brought a bunch of paints, canvases, brushes and music and while I made suggestions for how to approach the project, I didn’t lead the participants in creating anything specific. I simply guided us all in selecting color, brush, and putting paint onto the canvas.

This was a bit riskier for being the most loose-form project, and the lack of structure for some folks did create discomfort and confusion. But I’m not sure that I’d change any of that. In hindsight, I would prime the community more with discussion about staying present rather than focusing on what something “should” look like. This was an eye-opening experience for me and the community participants and I’m so grateful for the experience.

Materials for Group Painting

  • Four 6-ft tables
  • Chairs
  • Table covers
  • Wooden easels, offered to each participant
  • Acrylic paints in red, blue, yellow, black, white, gold, pink, teal, purple, plus modeling paste, glazing medium, and iridescent medium
  • Brushes of various sizes and shapes
  • Stretched and panel canvas of various sizes
  • Plastic tubs (like yogurt or hummus containers) for water
  • Pencils
  • Plastic-coated paper plates
  • Rags

Set up & Tips

  • The Round Table: All the tables were actually rectangular, but I set them up in ao open rectangle so folks could all see each other and chat. With our group of about 14 people, that meant three or so to a table. Outdoors and with space to move around and everyone vaccinated (and COVID infection rates low for the summer), we felt comfortable enough to take off our masks and see each other.
  • Setting a tone: Being outside in the shade was a nice touch, plus having music from a portable speaker that create atmosphere but didn’t compete with conversation helped create a celebratory tone, like a community meal, except with paint.
  • A variety of possibilities: I made some suggestions to pick colors that jumped out at folks as they surveyed their options, with the intent to encourage leaning into instinct and trusting themselves with the process. This was uncomfortable for some folks, who perhaps already felt vulnerable with art-making. As a community educator, I have the privilege to help people push their comforts and try new things, as well as help them to see possibilities in that trying.
  • Showcasing special materials: I did bring along modeling paste, glazing medium, and iridescent medium. Throughout the session, I introduced those separate mediums whenever someone asked about them or there had been some time for folks to settle into what they had begun to make. This meant announcing to the group that a material was available to them, and if they’d like to try it, there were a couple of ways I was familiar with the material, but they could try it out themselves. The sparkly stuff was, of course, the most popular.

Glass Painting at Jackson Street Youth Services
– Observing Each Other’s Skills and Experience

Part of my volunteering with Jackson Street this year was offering enrichment activities for the mentorship program. It was a real joy for me to spend time with the mentors and mentees in this program, and get to see their relationships come together.

This faux stained glass project turned out to be a really cool way for the groups to share their interests and skills with each other. The set up was classic: basic materials and process with enough possibility that participants could dig deep into the project.

The finished pieces came out looking so cool, and there were so many instances of genuine astonishment and joy at what each person could create with dark lines and glass paint (and it makes me want to add glass paint to my personal collection for sure!)

One of the challenges of hosting monthly art sessions is to come up with enough interesting and different subjects and practices for participants. As an illustrator, sure, I could spend all day everyday drawing, and that’s great if the goal of the art practice is to develop skill and style. But in community arts, that’s emphatically NOT the goal. Focusing on skill has the chance to create a split between who’s “good” at art and everyone else, which in the best of circumstances becomes one or two people making gorgeous art and everyone else watching. The worst outcome would be some of those spectators feel discouraged about trying the project. For community arts, I want to hold space for all participants with any skill level to share their exploration with each other. This is why unique and surprising projects can be perfect, like this faux stained glass project. Although there was linework and painting involved in the process, there was enough adaptation for someone who hasn’t practiced those artistic skills to still create something unique and for those who did have that practice, to share their skills with others. It also wasn’t something anyone at the table had tried before (I did one practice the previous night), and so there was zero mastery at the table, just as I like it 🙂

Materials for Faux Stained Glass

  • Glass sheets (like from thrift store picture frames)
  • Black fabric/ puff paint
  • Black Sharpie
  • Glass paint in various colors
  • Paint brushes
  • Paper
  • Optional (suggested): outline drawings of flowers, mandalas, shapes printed on paper

Process

  1. Draw a design on a piece of paper that can fit inside the area of the glass sheet, or select shapes and drawings that are printed on paper.
  2. Place the drawing/ print under the glass.
  3. Use the sharpie to trace the drawing or outline onto the glass.
  4. Use the puff paint to paint the lines of the drawing. Allow to dry completely.
  5. Use glass paint to paint inside and around the puff paint lines.

Set up & Tips

  • An example is worth 1000 questions: I prepped the evening before the class by creating an example at home. I also prepped some glass sheets with basic lotus and star designs with the puff paint so they would be dry and ready to paint for the class.
  • Note: the drying time of the puff paint was about 45 minutes, which for the 90 minute session means that participants were able to sketch out their designs and trace with puff paint and then color with the glass paint in the same session, which was cool.
  • Opportunities to work together: Some of the glass we had, which we took out of old picture frames from the thrift store, were various sizes, and one was quite large. For that one, the pair that used it created something together using this method, which was actually really neat to see and made a very unique keepsake for that pair.

Family Art Classes at Corvallis Multicultural Literacy Center
– Building Community

In an on-going collaboration with the CMLC, I’ve been hosting family classes for community members to create together at the center. As our global community continues to grapple with the effects of living during a pandemic, staying safe and building connection can feel like they are at odds.

Mediating between those choices are our obligations as community leaders and educators.

For these family art programs, I have been working alongside the CMLC program coordinator to plan for safety and health and maximum engagement. Good communication and planning has helped us successfully bring folks together.

Working closely with staff and volunteers for community projects has been essential. Together, we have covered as many possible questions and scenarios as we can to make sure we put safety and health above all. Our art projects have been a way to invite community members back into space with each other, while observing cautions for safety.

The first project we made together was decorating masks, both papier mache masks (which I had for a different project that was disrupted by COVID issues earlier in the year), and cloth face masks. This project brought us together into the center to share creative ideas and also practice healthfulness with sanitation and observing social distancing.

For our second project, we made posters and stickers, which is simple but honestly my favorite thing (yay stickers!). This second project was more focused on being together and exploring the space and opportunities the center offered.

Part of each of our activities has been to offer snacks to the young children, which is a matter of principle for me as a community educator. It’s another way for us to highlight the resources available at the CMLC. For our pandemic-friendly snacks, we offer a perusal of our packaged snack closet for kids to select from.

Materials for Mask Decorating

  • Papier mache masks
  • Cloth masks for adults and children
  • Fabric markers
  • Coloring markers (keep separate)
  • Glitter glue (the superior form of glitter)

Materials for Posters and Sticker making

  • Poster board paper
  • Sticker sheets (I used the kind for die cut machines)
  • Markers
  • Pencils
  • Glitter glue (love this stuff)

Set up & Tips

  • Room enough: A challenge at the CMLC is to make physical space for participants and observe social distancing. We manage this by separating participants into different rooms with the same supplies and a volunteer or staff in each room.
  • Keep it simple sweetie: These projects are so simple, they’re really drawing and coloring. And because of this, parents who attend the sessions with their children can chat and meet each other, which children can be imaginative and have freedom to create.

As a community arts educator, my work is focused on bringing folks together over creative projects, with an artistic perspective and methodology. I’ve learned from my experiences with organizations like The Center for Artistic Activism and Theatre of the Oppressed NYC about approaching opportunities for learning and conversation with an artistic framework, which is confronting challenges and taking on new opportunities to learn new skills and see from others’ perspectives. Looking back on the creative projects I’ve been a part of over the year, I’m struck by how naturally art and creativity became sources of community building, and our collaboration was affected by careful consideration of the particular challenges and desire for connection and growth our participants experienced.

In 2022, I’m looking forward to a new year of collaboration with these and other local and national organizations. Are you a community educator? How do you engage your community through arts and creativity? I’d love to hear about what other folks are doing to bring communities together!

Little Painting, Big Message

This year, I participated in The Arts Center’s annual Arts Alive! event with a chill little paint-with-me video that I was pretty into.

Grab some paints, a brush or two and set your mind to something you want to say (to yourself or, heck to the world!). Don’t worry about it being perfect, just sink into the process and chill with me.

Plus! Super cool extra thing: you can get the kit we made for this video so you (or someone you think could use some creative time) paint with the same materials I used at home! Make your own little garden of encouraging/ rebellious messages by getting your kit at my Arts & Crafts shop on Etsy: Art Kit – Little Painting/ Big Message (materials are SUPER limited!)