I have been taking the Photo Silly 2 class by Steve Sonheim. I love it! I am a little behind on lessons but I have begun going through each lesson and working with my cameras' settings. I have set my sights on improving my photographic skills.

I have both a Canon PowerShot A3100 and a Nikon D5000 .

Today I went into the city early and took a walk into Central Park. The light and air was amazing. It was a sparkly sort of morning. I am glad I had my (Canon) camera on me.

Today I work on exposure. I am impressed with the class. The instructions are clear, precise and playful. It really is silly too. It makes you have fun and laugh in wonder while learning. I decided to take the class on a whim and am really excited that I did. And the pdf's? I am going to print them all out and make a Three Ring Binder for them. Jane. :)

I met Ricë Freeman-Zachery a few years ago at Art Unraveled and I was immediately drawn to her. She can be found sitting in the lobby at retreats stitching on clothing. Much of the clothing she wears is hand dyed, overdyed, stitched and beaded by herself. She has orange hair and is a free spirit. Her husband is as glowing and vibrant as she is and is easy to enjoy a good laugh with.

Ricë's latest book is called Destination Creativity: The Life-Altering Journey of the Art Retreat and it is as raucous, fun filled and amazing as the art retreats that it talks about. This book has features on particular artists, like Carla Sonheim and Jessie Reno as well as some how-to projects (Just go watch Jesse paint). I contributed a little bit too!

Watch this video carefully and you will see me!

If you have always wanted to experience an art retreat, are getting the gumption up to sign up, or if you have been on a retreat and would like to capture the vibe again, go get a copy of this book, sit back and enjoy the ride.

This is my second post of the day.

Diana Trout is an author and artist. She wrote Journal Spilling: Mixed-Media Techniques for Free Expression and boy is her book expressive. There is permissive freedom, experimentation and exuberance on every page. Diana knows how to get the creativity out and onto the page! If you have any trepidation about opening a journal and expressing yourself artistically on its pages, I suggest you go check out Diana's book.

Last week Diana called me through Skype, so I was able to watch her wake up and we talked about journaling and our styles. I think we journal for much different reasons and I will say some words about my approach and hope that she does too.

I journal to capture thoughts, ideas and moments of my life in an artistic manner. I call what I do, the book I keep, an artist's journal and I hope that either an aspect of the page or the page itself will inspire further works of art either within the pages of the journal or on cloth, my chosen medium. I choose to paint full spreads, both sides of the paper because these books are for my own use as an artist, I do not have aspirations of selling or framing my pages-I do this as a library of imagery by and for myself.

I can be found paging through my books when I am feeling creatively dull. I also rely on the blank page in times of quiet, coffee shop journaling is the epitome of sheer joy in my world. When fiber creativity eludes me, I open the pages of my journal and get to work, it keeps me creatively focused and open to my self.

So Diana challenged me to be Messy and Intuitive. I think intuitive come easily to me, Messy? Not so much. Diana also challenged me to use words and not cover them up. In describing this challenge she suggested something similar to Nudge #8, 'Nudges' are her weekly challenges (a brilliant concept that you should try)-check them out!

So here goes.

This is one of the last pages in my journal and had notes on it. Alex, a 4 year old that I know, made the green cat stamp on the left part of the page. The two hand stamps on the right side of the page were made by me and were on the page prior to this challenge. I wanted to keep them, so worked around them, rather than covering them up.

To create this page, I globbed on some white gesso, smoothing it out in a thick layer over the page. I pressed some leaves left over from this post into and scribbled over the gesso then heat gunned the lot. I rubbed Caran d'Ache into the textured gesso, wetting drying and rubbing some more.

All that brown made me nervous, so I moved over to the left side of the page where there was some bright, cheerful yellow and I wrote about fear of Messiness.

This portion of the page was just yellow at that point. I took liberties and circled the pertinent words in the paragraph in pencil and used a stump to feather the lead out.

When I get to serious journaling, there are no holds barred- so out came the Crap! Border stamps had thier day on the page. Leaves, checkers, dashes, zig zags. Stamp pox be darned! If you feel compelled to make them, so too should you use them.

This is one of the first stamps I ever made. It is probably 15 years old, is carved speedy cut and is inspired by henna'd hands. See the Mess? Scribbles, dribbles, flecks?

This is a two color stamp made in Pat's Faux Screen Print technique. do you see those dark red penned triangles? That sort of quick unstudied line is hard for me to accept, but I did it in the hope of embracing the Messy and Intuitive aspect of the challenge.

Then I checked out the entire page and felt I needed to lighten and brighten up all that brown and began dotting some white and gold, swiped some blues into the page and continued to play and Intuit.

I don't know if I pass the Messy test (I know it wasn't a test). My Friend Pamela said, 'That is very messy, for you.' See that qualifier? For you. Hm.

Here are some other pages that I perceive as Messy.

And on this page I challenged myself to draw messy, not studied or realistic but with quick abandon. This pages imagery kept me thinking about The 20 and is a Common Grackle. This last is a reminder of the manner in which I tend to use my journal.

My challenge to Diana? Use Negative Space. Perhaps some paper Frisket? Maybe some fruit, but it was open to interpretation.

What do you think?

Jane Lafazio is an awesome person and an inspired and invigorating artist. I stumbled across her blog years ago and have been keeping up ever since. I am happy to call her my friend and am even happiler that I weill see her and play with her next week at the Houston Quilt Fest. We share readers and have shared students in our classes. From them I have heard that Jane is a great teacher and I believe it! We are exchanging interviews this week and I would love if you'd check us both out and comment!

Melly Testa: One of the things that really interests me about you is your use of working small in daily life. Of making small pieces of portable artwork that you may or may not make into a larger piece. Can you tell me where and how this started and what purpose it serve for you as an artist?

Jane LaFazio: I've always been drawn to small things, ever since I was a kid. Working small is immediate gratification--I can be done with one in one evening--if it's lap size! And by working small, creating a number of like pieces, I can create a larger work. I like to assemble and rearrange small pieces into a whole. Don't know why, just do. It's become my most successful style, I think. There's something about not having a plan (I rarely plan my artwork) and starting with only a color scheme or technique, and the challenge of making all the pieces work together into one.
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MT: Then I wonder if you might talk about the media you use, I mean, I know you have watercolor training and you journal. But you seem to be a gal of many media and yet, you are quite focused and driven. I wouldn't quite call you an art quilter, or a journaler, or a mixed media artist. I would call you all of it. Perhaps you are a quester. What are your thoughts?

JL: Quester is good! I love trying different things--traveling to different countries. I just love a 'new' experience, so it's the same with my art. I love to learn a new technique or try a new direction. And I have lots of interests, especially when it comes to art making.
I have a degree in Graphic Design, and while in school, dabbled in watercolor, silk screen, ceramics, typography, graphite, figure drawing, and more. I just like the diversity of media, I guess.

In 1992, when I got into fine art, I started with drawing, then watercolor, then collage, then sewing on my watercolor/collages, then about 8 years ago, starting working with cloth. In much of my work, sewing is the common theme. I sew on paper and cloth and seem to always some stitching in my work. Embroidery was the first artist skill I learned, as a teenager, and I guess the process of hand sewing is still one of my faves.

MT:One of the best things I like about you is your attitude, your ability to laugh, to embrace wonder and joy. I think it inspires your readers and students. Can you talk about this? How do you turn lemons into lemonade?

JL: My mother was a very positive person, and as such, instilled confidence in me. I'm blessed to have an inner cheerleader (versus an inner critic). Looking on the bright side is my natural tendency, my core self. I want to make other people feel good too (part people pleaser/ part always finding something positive to say.)

Growing up, with her and my older brother, laughter was a big part of our lives together. Not joke telling, but kidding, teasing and witty sarcasm. And I'm all about laughter. The supreme compliment for me, is being labeled with "a good sense of humor."

MT: What is your current dream and vision for your art?

JL: Staying with the path I'm on. Making lots of art, and writing articles teaching, traveling & teaching and spreading the joy of art making. I'd love to have a steadier, larger monetary income, and have a slightly cleaner house, but otherwise, all is good.

I've said I'd like to write a book on "Sketching & Watercolor: Journal Style" and I'm teaching that subject in an online class right now. I have the feeling that I've got more to teach on that front, and that maybe, just maybe it will (magically I hope) turn into a book. (I've put off writing a book proposal for nearly a year now...)

I also love teaching kids, and I'm in the 3rd year of my Mundo Lindo program, and have spoken aloud about a book for teachers or parents with how-to art projects for kids. I'm just starting some online tutorials for those projects, and secretly thinking they might turn into a subscription blog or something like that.

MT: Is there anything you would like to talk about?

JL: A psychic recently told me that my teaching is not as much about teaching art as it is helping people heal. I'm breathing in that prediction, and seeing what will come of it.

MT: What would you like to say to an emerging artist?

JL: Keep making art. Take lots of workshops and classes, but then make it your own work. Trust your instincts. Make art that you love, not what you think will sell; people can instinctively recognize art made from the heart.
And, learn about marketing; you've got let people see your art!

MT: If you don't have it already, go buy her dvd, The Small Art Quilt

Jane LaFazio presents three separate and very different approaches to working with cloth and making art in The Small Art Quilt. She is both concise and engaging and her teaching style is very approachable.

Jane's confidence and spirit both inspires and motivates me to move into the studio and try out her techniques. I have followed Jane's artistic growth through the internet and love the vigor she brings to every piece of art she creates, this video showcases that enthusiasm and simplifies the techniques she uses, making her processes easy and accessible at the same time. The details of her work and the peak into her studio are quite a treat too.

I am happy to call Jane a friend, glad that I am able to see her at teaching events and retreats throughout the year. Jane's humor, passion and love for what she does shines through with authenticity and charisma. Please, go get a copy of The Small Art Quilt today, you won't be disappointed.

Stitch Alchemy, Combining Fabric and Paper for Mixed-Media Art by Kelli Perkins is a treasure box of inspiration. Just opening the book at random will help you along your own creative journey! I swear. I opened to page 51, to the section called Clear Resist Embossing. Without reading the text, just looking at the image, an idea sparked within my mind and this is just how this book goes along. Page after page of eye-candy and creative juice stirrers.

Kelli's writing style is permissive, her directions are simple and to the point and make you realize how easy and fantastic it is to mix your medias, play with both stitch and paper and to create something as luscious and layered as Kelli does.

So if you want to get your creative synapsis popping and you need to put a little bit of sparkle in your approach, just buy this book.

Here is a stamp that Kelli's book inspired in me. Opening to page 51 of her book made me question why it never occurred to me to sew through fun foam to create a stamp. She doesn't explain this in her book but the sheer creative verve she has brought forth really does touch your creative core, get you thinking and better yet, making stuff.

and here is a detail shot of the printed stamp. You can see the stitches in the foam, I left some threads to interfere with the printing and it speaks to the image on page 51 because Kelli has no fear of painting over sewn line.

Stitch Alchemy, Combining Fabric and Paper for Mixed-Media Art by Kelli Perkins is a treasure box of inspiration. Just opening the book at random will help you along your own creative journey! I swear. I opened to page 51, to the section called Clear Resist Embossing. Without reading the text, just looking at the image, an idea sparked within my mind and this is just how this book goes along. Page after page of eye-candy and creative juice stirrers.

Kelli's writing style is permissive, her directions are simple and to the point and make you realize how easy and fantastic it is to mix your medias, play with both stitch and paper and to create something as luscious and layered as Kelli does.

So if you want to get your creative synapsis popping and you need to put a little bit of sparkle in your approach, just buy this book.

Here is a stamp that Kelli's book inspired in me. Opening to page 51 of her book made me question why it never occurred to me to sew through fun foam to create a stamp. She doesn't explain this in her book but the sheer creative verve she has brought forth really does touch your creative core, get you thinking and better yet, making stuff.

and here is a detail shot of the printed stamp. You can see the stitches in the foam, I left some threads to interfere with the printing and it speaks to the image on page 51 because Kelli has no fear of painting over sewn line.

Kelli Perkins is a fun, fabulously, inspired mixed media artist, whose book Stitch Alchemy, Combining Fabric and Paper for Mixed Media Art is a treasure trove of technique, approach and creative exuberance. I have had the pleasure of meeting Kelli and know that you will love her art and her personality as much as I do. Kelli is a working mother, in a great and loving relationship, which might suggest that she has her hands full. But it seems she makes time to glue, paint and stitch papers to cloth in fun, whimsical and expressive ways.

Melly T: I would love to know how this approach in materials and style came about, can you tell us about that?

Kelli NP: There has been a long process of accepting my own work. In the beginning I spent a lot of time thinking about what other people considered to be artistic. I am drawn to outsider and lowbrow art, including street art and graffiti. Yet, when I sit down to create, cute, pretty and colorful come out. I used to think something was wrong with me and I needed to push past that. Now I embrace it and create things that make me happy. When it comes to materials, I try new things all the time and when something really speaks to me, I keep working with it. That's what happened with stitchpaper.

MT: Knowing that your plate is full, having a full time job and a family, can you please talk about how you make time for art, how you think about your studio and what it gives you in return?

KNP: Art in the small spaces is my motto. There is no bridge of time too small to contain creation. I keep at the very least a sketchbook and pens with me at all times. I bring a bag of sewing to work and stitch during my lunch hour. I always collage, bead, embroider or do other handwork while watching a movie. In five minutes waiting in the dentist's office, I can accomplish a lot! All of these little bits add up at the end of the day. What it gives me in return is joy. There is no other expression for it than that.

MT:As an artist working in different mediums/medias, if you took one thing out of the mix would that stifle your process?

KNP: Oh absolutely. I need touchy-feely and combining paper and cloth with stitch is just the thing. I am not much of a museum person because you can't touch. What good is that? This is why I'll always be drawn to functional forms like books, quilts, dolls etc.

MT: What do you do when you are feeling creatively dull?

KNP: That's the time to whip out my notebooks and files of creativity scraps. I get ideas all the time, so I jot them down for further exploration. I could use several lifetimes exploring all of the things that have popped into my head in the middle of the night.

MT: What are your fears as an artist and how do you face/overcome/talk yourself out of or USE them?

KNP: I gave my inner critic a name, so when the voice in my head tells me my art is not good enough, I can pin it on her. It's just this one crazy person living inside my head, so why should I listen to her? If she showed up at my door and said those things in person, I would dismiss her as a lunatic. So why should I give the voice more credence because I can't see it? My fears are the same as yours. Are we ever good enough?

MT: You will be doing some teaching soon. Is there anything you would like to say about that? Times, dates and places?

KNP: Yes! I'll be at CREATE with Cloth Paper Scissors in Rosemont IL in August, with a full slate of ridiculously colorful classes, including; Stitchpaper Alchemy, Paper Bead Alchemy, Stitched Imagery and a Trinket Journal class. I'll also be selling some stitchpaper packs, paper beads and artwork. It's been a long time since I've had a vendor table and I've missed it. I used to be a soapmaker.

MT: Tell us about a piece of art that you made that you espcially like and why.

Since I make more functional art than stand alone pieces, let me praise the merits of paper beads. Have you ever stood on the beach and sifted through sand for rocks or shells? Each one is more beautiful than the one before. When we visit Lake Superior I can't come back without pocketfuls of rocks. Paper beads are like that. Each one is completely unique and you have to hold it in your hand and spin it about to appreciate its full beauty.

Next week I will do a full review of Kelli's book here on my site. Until then, please go check out Kelli's blog, her book and the possibility of taking a class from Kelli at the Create Retreat. Ay the very least I hope you enjoy the luscious showing of Kelli's work.

Kelli Perkins is a fun, fabulously, inspired mixed media artist, whose book Stitch Alchemy, Combining Fabric and Paper for Mixed Media Art is a treasure trove of technique, approach and creative exuberance. I have had the pleasure of meeting Kelli and know that you will love her art and her personality as much as I do. Kelli is a working mother, in a great and loving relationship, which might suggest that she has her hands full. But it seems she makes time to glue, paint and stitch papers to cloth in fun, whimsical and expressive ways.

Melly T: I would love to know how this approach in materials and style came about, can you tell us about that?

Kelli NP: There has been a long process of accepting my own work. In the beginning I spent a lot of time thinking about what other people considered to be artistic. I am drawn to outsider and lowbrow art, including street art and graffiti. Yet, when I sit down to create, cute, pretty and colorful come out. I used to think something was wrong with me and I needed to push past that. Now I embrace it and create things that make me happy. When it comes to materials, I try new things all the time and when something really speaks to me, I keep working with it. That's what happened with stitchpaper.

MT: Knowing that your plate is full, having a full time job and a family, can you please talk about how you make time for art, how you think about your studio and what it gives you in return?

KNP: Art in the small spaces is my motto. There is no bridge of time too small to contain creation. I keep at the very least a sketchbook and pens with me at all times. I bring a bag of sewing to work and stitch during my lunch hour. I always collage, bead, embroider or do other handwork while watching a movie. In five minutes waiting in the dentist's office, I can accomplish a lot! All of these little bits add up at the end of the day. What it gives me in return is joy. There is no other expression for it than that.

MT:As an artist working in different mediums/medias, if you took one thing out of the mix would that stifle your process?

KNP: Oh absolutely. I need touchy-feely and combining paper and cloth with stitch is just the thing. I am not much of a museum person because you can't touch. What good is that? This is why I'll always be drawn to functional forms like books, quilts, dolls etc.

MT: What do you do when you are feeling creatively dull?

KNP: That's the time to whip out my notebooks and files of creativity scraps. I get ideas all the time, so I jot them down for further exploration. I could use several lifetimes exploring all of the things that have popped into my head in the middle of the night.

MT: What are your fears as an artist and how do you face/overcome/talk yourself out of or USE them?

KNP: I gave my inner critic a name, so when the voice in my head tells me my art is not good enough, I can pin it on her. It's just this one crazy person living inside my head, so why should I listen to her? If she showed up at my door and said those things in person, I would dismiss her as a lunatic. So why should I give the voice more credence because I can't see it? My fears are the same as yours. Are we ever good enough?

MT: You will be doing some teaching soon. Is there anything you would like to say about that? Times, dates and places?

KNP: Yes! I'll be at CREATE with Cloth Paper Scissors in Rosemont IL in August, with a full slate of ridiculously colorful classes, including; Stitchpaper Alchemy, Paper Bead Alchemy, Stitched Imagery and a Trinket Journal class. I'll also be selling some stitchpaper packs, paper beads and artwork. It's been a long time since I've had a vendor table and I've missed it. I used to be a soapmaker.

MT: Tell us about a piece of art that you made that you espcially like and why.

Since I make more functional art than stand alone pieces, let me praise the merits of paper beads. Have you ever stood on the beach and sifted through sand for rocks or shells? Each one is more beautiful than the one before. When we visit Lake Superior I can't come back without pocketfuls of rocks. Paper beads are like that. Each one is completely unique and you have to hold it in your hand and spin it about to appreciate its full beauty.

Next week I will do a full review of Kelli's book here on my site. Until then, please go check out Kelli's blog, her book and the possibility of taking a class from Kelli at the Create Retreat. Ay the very least I hope you enjoy the luscious showing of Kelli's work.

This is the final post featuring Lyric and her fabu work and personality. If you go to this show, I hope I have proven to you that you really should take a class from Lyric and expand your skill set.

My favorite thing to do is to teach. The back-and-forth that goes on in a learning environment is stimulating and uplifting and my students are so much more cooperative than my children!
I'll be at the American Quilt Festival in Paducah Kentucky next April. This is one of the "Big One's" in the quilt world so I'm excited to be going for the first time.
One of the funnest classes I'll be teaching there is a class called "Just Foiling Around" in which we play with foil (of course) but also do one of my favorites - painted Wonder-Under. It's fusible paint - you can tear it, cut it, play with it, and I'm completely addicted to using it in my work. I'm also addicted to the shine and whimsy of foil and it's so easy to apply.
There is still space available in the class. #6504 on Wednesday Evening the 21st of April from 5:30 - 8:30pm. Late in the evening I know - but I'm hoping to have enough room in my suitcase for .... chocolate! If that isn't worth coming for I don't know what is!? Hope to see you there.

"Three" uses painted Wonder Under and melted synthetics to achieve a very fun texture.

"3 Shells" Foil is lightly applied over a fusible and also accents the shells at the bottom of this piece.

"Spill" is all about the crazy fun texture achieved with painted W-U and melted synthetic fabric

"Friends" the square in the background is painted W-U

Zen by Lyric Kinard

The buddah face on this piece is screen printed with the foil adhesive then the foil is applied. We'll be playing with this great technique in "Just Foiling Around" in Paducah, Kentucky on April 21st at the American Quilt Festival

Post a comment! You can win this piece, but it is your job to come back and see if you are the winner! I will Draw a name on my next blog post!

P.S. I bought the purple shoes. They will come in the next two weeks! Just in time for Quilt Fest Chicago.

This is the final post featuring Lyric and her fabu work and personality. If you go to this show, I hope I have proven to you that you really should take a class from Lyric and expand your skill set.

My favorite thing to do is to teach. The back-and-forth that goes on in a learning environment is stimulating and uplifting and my students are so much more cooperative than my children!
I'll be at the American Quilt Festival in Paducah Kentucky next April. This is one of the "Big One's" in the quilt world so I'm excited to be going for the first time.
One of the funnest classes I'll be teaching there is a class called "Just Foiling Around" in which we play with foil (of course) but also do one of my favorites - painted Wonder-Under. It's fusible paint - you can tear it, cut it, play with it, and I'm completely addicted to using it in my work. I'm also addicted to the shine and whimsy of foil and it's so easy to apply.
There is still space available in the class. #6504 on Wednesday Evening the 21st of April from 5:30 - 8:30pm. Late in the evening I know - but I'm hoping to have enough room in my suitcase for .... chocolate! If that isn't worth coming for I don't know what is!? Hope to see you there.

"Three" uses painted Wonder Under and melted synthetics to achieve a very fun texture.

"3 Shells" Foil is lightly applied over a fusible and also accents the shells at the bottom of this piece.

"Spill" is all about the crazy fun texture achieved with painted W-U and melted synthetic fabric

"Friends" the square in the background is painted W-U

Zen by Lyric Kinard

The buddah face on this piece is screen printed with the foil adhesive then the foil is applied. We'll be playing with this great technique in "Just Foiling Around" in Paducah, Kentucky on April 21st at the American Quilt Festival

Post a comment! You can win this piece, but it is your job to come back and see if you are the winner! I will Draw a name on my next blog post!

P.S. I bought the purple shoes. They will come in the next two weeks! Just in time for Quilt Fest Chicago.

It is another Check Her Out!, Monday. I remain focused on Lyric Kinard. In this spotlight I delve a little deeper into how Lyric chooses to work as an artist, I ask for explaination of a specific work of art and about Lyrics need to work on the go.

Melly: Right now my favorite piece of yours is The Women of God Know This, it gave me chills when I first saw it, read and understood it. Can you tell us more about this piece?

Lyric: Choosing to stay home and have children was not an easy decision for me. I gave up many personal hopes and dreams to do so. Intellectually, I knew that raising children was something vital and important, but it has taken years to fully understand why. I can have a greater impact for good in the world by teaching my children to love and to serve others than in any other thing I could do. I am doing my level best to teach them that they are here in the world to make it a better place by helping others. That even small acts of kindness can change the world. This quote, by Neal A. Maxwell, says what I feel so eloquently. The women are my Aunt, Grandmother, Great-Grandmother, and Great-Great-Grandmother.

Melly: How do you usually approach making a new piece, do you plan or remain open to new ideas? I know that you like to have handwork at the ready, do you create art with the goal of beading and embellishing?

Lyric: My larger pieces, especially the portraits, often begin with sketches and are refined into drawn patterns that I follow. The majority of my current work is improvisational and inspired entirely by the materials at hand. I often grab a little bag and stuff in a bit of batting, some scraps, threads, and beads, and see what I can come up with during hockey practice or orchestra rehearsals. I think I get more work done on the go than in the studio. I have come to appreciate the peaceful meditation of beading and stitching my work but most of the time I do it out of impatience. I can't stand to simply sit and watch something - my hands need to keep busy. It seems that I can better pay attention to what is going on in a meeting if my hands are occupied.

Melly: Your artwork really seems to run the gamut from realistic to abstract and geometric. This seems well rounded, is it intentional?

Lyric: Can you hear me laughing? Either well rounded or completely scatterbrained. Probably a bit of both. I've had many interruptions in my development as an artist. I didn't get much studio time when there was an infant in the house. I would keep sketchbooks at hand to jot down ideas when they came and often would take a class now and then simply to have a day to myself. Whenever I would come back to the studio there would be a jump in the direction I wanted to go.

With no more babies to come, I'm really looking forward to working in multiple series and building more cohesive bodies of work. I still enjoy a variety of styles and will continue to create both pictorial and abstract work.

Melly: Do you think about the basic concepts of art making as you work?

Lyric: I do think about the fundamentals of design as I'm working but often only in a fleeting manner. If a composition is not working I will put it up on the wall and methodically go through the elements and principles of art - trying to find where things can be improved. Of course having written a book on the subject and teaching it - I have to practice what I preach right?

It's funny now that I consider it - I think I am more conscious of design fundamentals during my non-art-making activities. I'll be driving and notice the amazing contrast of the dark grey edges and bright white centers of the clouds. I'll be at the bus stop and notice the amazing lines of the winter trees and the texture of the sidewalk. I can be watching a conductor and be completely sidetracked by the line created by the body, hand, and baton on an upbeat. There is ART and INSPIRATION everywhere! That's why I have to have my sketchbook at hand always.

One last thing. It's my soapbox message. I came to the visual art world after I had given up so many other things. I have been blessed with this opportunity to nurture my creativity even during the most demanding times of my life. I didn't pick up a pencil, a needle, or a paintbrush and just know what to do - I had to work to learn the techniques and take time to develop my visual voice. If I can find time to learn and create - anyone can.

Next Week Lyric and I will complete this Check Her Out! series with a postcard give away. Remember to leave a comment for your chance to win. You must also check back to see if you are the lucky winner!

It is another Check Her Out!, Monday. I remain focused on Lyric Kinard. In this spotlight I delve a little deeper into how Lyric chooses to work as an artist, I ask for explaination of a specific work of art and about Lyrics need to work on the go.

Melly: Right now my favorite piece of yours is The Women of God Know This, it gave me chills when I first saw it, read and understood it. Can you tell us more about this piece?

Lyric: Choosing to stay home and have children was not an easy decision for me. I gave up many personal hopes and dreams to do so. Intellectually, I knew that raising children was something vital and important, but it has taken years to fully understand why. I can have a greater impact for good in the world by teaching my children to love and to serve others than in any other thing I could do. I am doing my level best to teach them that they are here in the world to make it a better place by helping others. That even small acts of kindness can change the world. This quote, by Neal A. Maxwell, says what I feel so eloquently. The women are my Aunt, Grandmother, Great-Grandmother, and Great-Great-Grandmother.

Melly: How do you usually approach making a new piece, do you plan or remain open to new ideas? I know that you like to have handwork at the ready, do you create art with the goal of beading and embellishing?

Lyric: My larger pieces, especially the portraits, often begin with sketches and are refined into drawn patterns that I follow. The majority of my current work is improvisational and inspired entirely by the materials at hand. I often grab a little bag and stuff in a bit of batting, some scraps, threads, and beads, and see what I can come up with during hockey practice or orchestra rehearsals. I think I get more work done on the go than in the studio. I have come to appreciate the peaceful meditation of beading and stitching my work but most of the time I do it out of impatience. I can't stand to simply sit and watch something - my hands need to keep busy. It seems that I can better pay attention to what is going on in a meeting if my hands are occupied.

Melly: Your artwork really seems to run the gamut from realistic to abstract and geometric. This seems well rounded, is it intentional?

Lyric: Can you hear me laughing? Either well rounded or completely scatterbrained. Probably a bit of both. I've had many interruptions in my development as an artist. I didn't get much studio time when there was an infant in the house. I would keep sketchbooks at hand to jot down ideas when they came and often would take a class now and then simply to have a day to myself. Whenever I would come back to the studio there would be a jump in the direction I wanted to go.

With no more babies to come, I'm really looking forward to working in multiple series and building more cohesive bodies of work. I still enjoy a variety of styles and will continue to create both pictorial and abstract work.

Melly: Do you think about the basic concepts of art making as you work?

Lyric: I do think about the fundamentals of design as I'm working but often only in a fleeting manner. If a composition is not working I will put it up on the wall and methodically go through the elements and principles of art - trying to find where things can be improved. Of course having written a book on the subject and teaching it - I have to practice what I preach right?

It's funny now that I consider it - I think I am more conscious of design fundamentals during my non-art-making activities. I'll be driving and notice the amazing contrast of the dark grey edges and bright white centers of the clouds. I'll be at the bus stop and notice the amazing lines of the winter trees and the texture of the sidewalk. I can be watching a conductor and be completely sidetracked by the line created by the body, hand, and baton on an upbeat. There is ART and INSPIRATION everywhere! That's why I have to have my sketchbook at hand always.

One last thing. It's my soapbox message. I came to the visual art world after I had given up so many other things. I have been blessed with this opportunity to nurture my creativity even during the most demanding times of my life. I didn't pick up a pencil, a needle, or a paintbrush and just know what to do - I had to work to learn the techniques and take time to develop my visual voice. If I can find time to learn and create - anyone can.

Next Week Lyric and I will complete this Check Her Out! series with a postcard give away. Remember to leave a comment for your chance to win. You must also check back to see if you are the lucky winner!

I have gathered together a group of women whose work I admire and think will be an inspiration to you too. I am going to spotlight one artist for 4 Mondays in a row with Interviews, book reviews and more. I hope you enjoy the art and ideas that will be presented in these, 'Check Her Out!' Monday posts. In addition Lyric and I will be making a small work together, at the end of the 4 week spotlight everyone who has posted to any of the Monday posts will be entered to win. You must come back to see if you are the lucky winner.

The first time I met Lyric Kinard was on the set at Quilting Arts TV, and from the start I knew I would really like her. Lyric is honest, engaging and good. Last year we both taught and roomed together at Quilt Fest in Houston, I am happy to say I consider Lyric to be a friend, and that is a wonderful thing.

Lyrics' art is expressive, joyful and varies from photorealistic to abstract, she has a real sense of color and value. Lyric also has a great relationship to 'hand work', watching her sit and bead is a meditation in itself. And so, I would like to give you the chance to get to know Lyric through a question and answer session we've had.

Here you go:
Melly: What is your story, how did you become an artist? Was it something you wanted to do from a young age or did you take a more circuitous path?

Lyric: Circuitous. Surprising. I never imagined I'd be a visual artist. I wanted to be a musician. I did everything I could to be a musician right up to the point that I realized I wanted children and that symphony musicians were always gone when the kids were home. I have a degree in English Lit, took all the pre-reqs to get into graduate architecture, still spent most of my time in the music department. Then after college, when I chose to have children, I gave it all up. There were a few lost years there.

A friend introduced me to quilting and I learned the traditional skills. It was something creative I could do being interrupted every five minutes. It was the only thing I did all day that didn't need to be redone. When I saw my first art quilt it was a revelation. Who knew quilts could do that!? I took every class I could and learned any technique that I thought would help me express my vision.

Melly: Name a work of art you wish you had created, and tell us why?
Lyric: I wish I could remember its name but the piece is still haunting me. Life sized figure, barely showing until you stand farther away. It was a grey/white, torn strips of horizontal fabric... something about the mystery. It was like an impressionist painting - soft and brooding and full of light. Monet is one of my favorite artists but not for the lilies that other people adore. I like his cathedrals - and there was another winter scene - the values barely contrasting enough to be seen. I want to be able to express mystery and light that way.

Melly: What do you do when you are feeling creatively dull?
Lyric: Make jewelry. Go outside. Pull out my camera or play with digital editing. Go back through my sketchbooks. Take a nap.

Melly: I know that you have children and a husband, how do you also juggle being an artist and a teacher on top of that?
Lyric: One thing at a time. And these days when I'm doing one thing - something else is left undone. There are many times that the art is put aside because the family must be taken care of and I am at peace with that. What I do with my children now will be far more long lasting than any art I create, and far more important. There will be time to be productive in the studio later. When I had my fifth baby I took two years completely off - calling it my baby sabbatical. Now the children are on their feet and I'm able to spend more time in the studio. I teach because I love being with the students. I'm lucky to control my schedule and only take limited teaching engagements trying to balance it all.

Melly: What is your favorite part of teaching?
Lyric: Seeing the light come on in a students mind. To see that spark of joy when they realize that they have it within them to be creative - to be able to visually express themselves.

Melly: What are you working on right now?
Lyric: As always - discipline. I don't have a lot of studio time and yet I am terrible at forcing myself off the computer and to the cloth. Once I pick up the cloth it's difficult to tear myself away. It is a constant struggle to find the balance. The work I'm following right now is a series of whole cloth pieces mounted on stretched canvas. I love the layered imagery where dye is taken out of the cloth and color and image is added back.

Next week I an going to review her book, Art + Quilt: Design Principles and Creativity Exercises. I can already tell you that I think it is a great compositional and creative primer! Her writing style is really permissive and encouraging. So stay tuned.

I have gathered together a group of women whose work I admire and think will be an inspiration to you too. I am going to spotlight one artist for 4 Mondays in a row with Interviews, book reviews and more. I hope you enjoy the art and ideas that will be presented in these, 'Check Her Out!' Monday posts. In addition Lyric and I will be making a small work together, at the end of the 4 week spotlight everyone who has posted to any of the Monday posts will be entered to win. You must come back to see if you are the lucky winner.

The first time I met Lyric Kinard was on the set at Quilting Arts TV, and from the start I knew I would really like her. Lyric is honest, engaging and good. Last year we both taught and roomed together at Quilt Fest in Houston, I am happy to say I consider Lyric to be a friend, and that is a wonderful thing.

Lyrics' art is expressive, joyful and varies from photorealistic to abstract, she has a real sense of color and value. Lyric also has a great relationship to 'hand work', watching her sit and bead is a meditation in itself. And so, I would like to give you the chance to get to know Lyric through a question and answer session we've had.

Here you go:
Melly: What is your story, how did you become an artist? Was it something you wanted to do from a young age or did you take a more circuitous path?

Lyric: Circuitous. Surprising. I never imagined I'd be a visual artist. I wanted to be a musician. I did everything I could to be a musician right up to the point that I realized I wanted children and that symphony musicians were always gone when the kids were home. I have a degree in English Lit, took all the pre-reqs to get into graduate architecture, still spent most of my time in the music department. Then after college, when I chose to have children, I gave it all up. There were a few lost years there.

A friend introduced me to quilting and I learned the traditional skills. It was something creative I could do being interrupted every five minutes. It was the only thing I did all day that didn't need to be redone. When I saw my first art quilt it was a revelation. Who knew quilts could do that!? I took every class I could and learned any technique that I thought would help me express my vision.

Melly: Name a work of art you wish you had created, and tell us why?
Lyric: I wish I could remember its name but the piece is still haunting me. Life sized figure, barely showing until you stand farther away. It was a grey/white, torn strips of horizontal fabric... something about the mystery. It was like an impressionist painting - soft and brooding and full of light. Monet is one of my favorite artists but not for the lilies that other people adore. I like his cathedrals - and there was another winter scene - the values barely contrasting enough to be seen. I want to be able to express mystery and light that way.

Melly: What do you do when you are feeling creatively dull?
Lyric: Make jewelry. Go outside. Pull out my camera or play with digital editing. Go back through my sketchbooks. Take a nap.

Melly: I know that you have children and a husband, how do you also juggle being an artist and a teacher on top of that?
Lyric: One thing at a time. And these days when I'm doing one thing - something else is left undone. There are many times that the art is put aside because the family must be taken care of and I am at peace with that. What I do with my children now will be far more long lasting than any art I create, and far more important. There will be time to be productive in the studio later. When I had my fifth baby I took two years completely off - calling it my baby sabbatical. Now the children are on their feet and I'm able to spend more time in the studio. I teach because I love being with the students. I'm lucky to control my schedule and only take limited teaching engagements trying to balance it all.

Melly: What is your favorite part of teaching?
Lyric: Seeing the light come on in a students mind. To see that spark of joy when they realize that they have it within them to be creative - to be able to visually express themselves.

Melly: What are you working on right now?
Lyric: As always - discipline. I don't have a lot of studio time and yet I am terrible at forcing myself off the computer and to the cloth. Once I pick up the cloth it's difficult to tear myself away. It is a constant struggle to find the balance. The work I'm following right now is a series of whole cloth pieces mounted on stretched canvas. I love the layered imagery where dye is taken out of the cloth and color and image is added back.

Next week I an going to review her book, Art + Quilt: Design Principles and Creativity Exercises. I can already tell you that I think it is a great compositional and creative primer! Her writing style is really permissive and encouraging. So stay tuned.