It is my pleasure to feature artist and graphic designer Rachel Roe on the blog! Rachel is a St. Louis based artist and you can check out her Etsy shop, her website, and follow her on Instagram and Facebook.
Can you tell me a little bit about yourself and your journey with art?
My name is Rachel Roe. I am an artist and graphic designer based in St. Louis, MO. I work from my backyard art studio — a space my husband built for me to encourage my career as a full-time artist.
I have a Bachelor of Fine Arts with an emphasis in graphic design. So out of college, and for 4 years after, I was a full-time graphic designer (doing art on the side) working for a company that wasn’t fulfilling or pushing my creative limits.
I’ve always had an interest in art but I never thought I could do it as a career — partly because of the sheer logistics of it but also partly because it was a scary transition from my comfortable job as a designer. But after a few encouraging voices and a leap of faith, I quit my 9-5, and started my career as a full-time artist.
What is life like in Missouri? Any places in the area that inspire you or that you generally like to hang out?
I live in the outskirts of St. Louis so I get the hustle of the city but also the serenity of hiking trails, rivers and lakes all around me.
I’m lucky to live close to some pretty amazing/inspiring art museums. However, lately I’ve been trying to rely less on inspiration and more on discipline. Inspiration and motivation can be oh so fleeting. I’m learning I may not always be motivated but I can always be disciplined.
Can you tell me a little bit about your vintage uniform series? What was the impetus behind the people being faceless?
The vintage inspired pieces were initially created around my admiration for vintage uniforms. By abstracting the faces and settings, the piece becomes more about the uniform and the type of persona it creates rather than focusing on a specific individual. The fluid/abstracted brushstrokes compliment the piece making it feel like a faded memory.
What are some of your favorite art products/materials?
I love painting on birch wood panels. Being able to see the grain beneath the paint adds a natural element to the overall composition.
What have been some of your favorite projects and/or commissions? Any exciting paintings, projects or upcoming events in the works?
I’m always honored when people ask me to paint a commissioned piece of their loved one. I’ve done faces, families, dogs and buildings. It’s always crazy for me to be painting, painting, painting and all of a sudden… I stand back and there’s a personality staring back at me. Faces aren’t always the easiest things to paint but they sure are rewarding.
I’m currently preparing for my first big art show. I’m producing tons of new works so it’s been so exciting watching my studio fill up with art.
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It is my pleasure to feature artist Signe Gabriel on the blog this month! Signe is a Danish illustrator from Lund, Sweden. You can check out her Etsy shop, follower her on Instagram, and peruse her beautiful artist website to see some of her outstanding collaborations and projects. You can contact Signe for commissions by sending her an email: firstname.lastname@example.org.
Can you tell me a little bit about your journey with art? What inspires you, and what is life like in Sweden?
Like many other illustrators I was always drawing and painting as a child and just didn’t stop doing it as I grew older. However, no-one in my family are artists or even have their own business, so it took me some time to realize that the thing I wanted to do – which was, basically, drawing and painting all day – could actually be my job. I am from Denmark and started working from Copenhagen, but one year ago I moved across the bridge to Lund in southern Sweden where I live now. I live with my partner and a few friends in a really old house – all of Lund is really old, and I feel very inspired just living in a place like this. My imagination is always going, and I make up stories around the things I see, and this is really where most of my inspiration comes from, as well as old fairy tales and Scandinavian folklore. Before I moved here, I was already painting Swedish-ish nature and houses, so I think I was just meant to move here.
Lately I have started writing a little as well, putting words to all these stories I make up all the time. Really I think the picture book is an amazing medium. First of all, as an illustrator it is fun to have to make a whole bunch of drawings that have to work together to tell a story, and second I think it has so many possibilities and directions to go in. Picture books can be both fun, poetic, or educational. I think this is the direction most of my work will be going in the future.
What have been some of your favorite children’s books and magazine projects?
I have been lucky enough to work with Taproot Magazine a few times, and I always really enjoy illustrating articles for them. They focus on craft, sustainable living and homesteading. I love working with them, I feel like their themes are a natural fit for me and the articles are always interesting.
For some reason, I have been doing quite a lot of food illustration, which is also always a fun challenge. We see pictures of food all the time, so imagining food in new ways is a fun challenge. I like making tiny chefs running around arranging huge plates of food.
For the last few months, me and my partner have been working together on a children’s book about depression. It has been a heavy subject to dive into, but also a really rewarding process, and it just feels so important, which is really motivating to me. We are almost done now, and hopefully we will find a publisher for it.
What have been some of your other favorite projects or commissions?
A really fun commission I had last summer was creating a map for a conference center in Malmö. They own a whole block of historic buildings in the city center, and needed a map for their clients to be able to find their way. All these houses are different, but they are all painted bright yellow, and in the summer there is pink flowers growing everywhere. I got to sit in the sun and drink coffee and sketch and look at people for a few weeks. It is commissions like that that make me feel like I have the most awesome job in the whole world.
After spending time on commissions it is always nice to be able to spend some time with my personal projects. Here I can really pour myself into it and express myself just the way I want. Often, these are the projects that turn into posters for my Etsy shop.
Do you have any advice for artists pursuing their work as a business? Has your artist website and Etsy shop had a positive impact on your business?
My main advice for artists that would like to turn their work into a business is to make a good website. This is your window to the world and your chance to tell your story, so put a lot of work into it. Also, something I force myself to consider every once in a while, is whether or not the content on my website really shows only my best work. As artists we keep developing our skills, so sometimes we have to take down old favourites. It is better to show only a few, really great projects. As soon as you have a website running, send emails to all the people you can imagine working with!
Etsy has definitely had a positive impact on my business. It feels great sending a poster to the other side of the world to someone who for sure would never have heard about my work if they hadn’t found it on Etsy. In Scandinavia, not a lot of people now about it, but I have been able to direct people here to Etsy via my website.
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It is my pleasure to interview Rachel Gregor, painter and fine artist from Kansas City, Missouri. Make sure to check out her Etsy shop and her artist website as well!
Can you tell me a little bit about yourself and your journey with art?
My name is Rachel Gregor and I’m a fine artist living and working in Kansas City, Missouri. I grew up about 30 minutes west of Minneapolis, Minnesota where my parents own and operate their own retail greenhouse and nursery. My mom was a freelance illustrator and graphic designer before getting involved with the greenhouse with my dad and grandfather, so that’s where a lot of my interest in art came from. I remember as a child while she worked at her seeding bench she would place me at a table nearby with blank pieces of paper and crayons. I was always drawing at a young age and she rarely bought me coloring books, so I had to invent scenes and stories to draw. That’s how it always was throughout grade school, I was the kid with the sketchbook drawing Pokemon and trying to sell the drawings for 25 cents. Eventually that led me to applying to an arts high school in Minnesota called Perpich Center For the Arts Education, I always knew I wanted to be an “artist” but that’s when I started to learn what that meant and then it became real. I then went on to receive my BFA in painting from the Kansas City Art Institute, gained a lot of great mentorships, and now here I am.
What are you inspired by? What are the stories behind some of your portrait paintings?
A lot of my work is inspired by nostalgia. When I was in college my grandparents started the process of moving out of their home and into a nursing home, and I started to become really homesick for their old house. Even if the setting in a portrait is vague, I’m usually thinking back to their house and trying to get the idea or sensation of what it was like there. I’m a huge fan of mid century patterns and household kitsch so oddly enough just surfing Etsy for weird ceramic knick knacks and table cloths gets me excited for painting. In my larger compositions I usually try to hide away objects that I remember from my childhood. I want my portraits to feel very still and mundane, but underneath the cheer and kitsch there is some darkness. Even if they’re surrounded by flowers and cute prints, my figures are typically alone and isolated.
What does the process look like for creating your portrait paintings? What are some of your favorite paint, paintbrush, and canvas brands?
I like to get pretty nerdy over my material process, but I think to be a painter you have to be very familiar with your medium. When I’m doing a larger piece I work on stretched linen, typically a finer weave, always raw and never pre-primed. I stretch and size my linen myself with rabbit skin glue, and once it’s prepped with an oil ground and has had time to cure, I can get to work. I use rounds and filberts for my brushes, typically hogs hair, from various brands, it doesn’t really matter too much which brand as long as the brushes are the size I want and bristles aren’t shedding. Rarely do I need fine sable brushes but I sometimes use these when working on really slick surfaces and for details, like with my still lives. For my figurative work I like to work in a really direct method, wet into wet, and then switch to more indirect methods and using a dry brush. Lately I’ve been really enjoying doing a grisaille, which is painting with a single pigment like burnt sienna or an umber, and white, letting that dry, and then doing layers of scumbling on top of that, which is essentially glazing but with little to no added oil medium.
When in comes to smaller pieces or studies, I really enjoy painting on toned paper prepared with acrylic gesso and ground pumice stone. I prepare this myself but ColourFix makes great toning gessos with grit in them and ready to use pre-toned paper. The nice thing about prepping it yourself is you can tint the paper tone to any color you like and because I’m using acrylic, the paper is sealed so I can use the surface for dry media, wet, or oil. The pumice stone adds a really nice grip as well, so it has a nice tooth for both pastels and for painting, the brush can grab the surface and it doesn’t feel like you’re just smearing paint. I also like to keep a roll of Grafix’s Dura-lar acrylic film around for the same reason, if I want to do a quick, small painting or study I simply cut a piece from the roll and no prep work is required. One side of the film is foggy and has a bit of a grip, it’s not totally smooth, so again your brush has something to grab to and it doesn’t feel like you’re just smearing paint.
As far as specifics go with mediums and brands, I like M. Graham & Co. walnut oil for a painting medium and walnut alkyd if I’m working with dark earth tones. Walnut oil has a slower dry time than linseed and is clearer and a bit more glossy. Alkyds will start to form a skin within a few hours so be ready! I only use alkyds in the final layers. If you want your paint to have that varnished look, sun dry your walnut oil by placing it in a shallow bowl and let it sit out for a few days. It will become thick like honey and give your paints a beautiful gloss, much like an alkyd but I find it’s a bit more forgiving and workable. I don’t like relying on varnish to give my paintings that final polish, it can become a crutch. If a painting is built up with the proper mediums, it shouldn’t need an immediate coat of varnish as soon as it’s dried.
At this moment I probably have around 10 or more different brands of paint tubes, from Old Holland, Michael Harding, Winsor & Newton, to store brands like Utrecht. I’m not really loyal to any particular brand. Brands specialize in different products and mediums and I think it can be foolish to swear by one brand for all of your mediums and pigments. When I’m at the art store shopping for paint, I look at the individual pigment, let’s say burnt sienna. I like my burnt sienna to be very hot and orange, which goes against what a lot of people say burnt sienna should be-that it should have purple undertones. So I go through each brand and sample the paint on a piece of paper and look for one that has the right temperature and undertones that I like. I also look for how much medium they add to the paint, if it’s separated, if it feels dry, ect. Even if I have a go to brand for one type of pigment, I always check because there can be variances between the batches. Look for what you want in your pigment, just because Winsor & Newton makes a beautiful hot burnt sienna doesn’t mean that their yellow ochre is any good, it might be too green or too orange for what you want in that specific color. Also never judge a brand by it’s price tag, more expensive brands at the store like Old Holland might make some beautiful tubed paint, but that doesn’t mean that the formulas or the pigments are right for your specific purpose. Of all things, I actually like the student grade Winton cadmium red light a lot. They add a wax filler to the paint to extend it, and if you are aware that it’s there that’s not necessarily a bad thing. I really like the added wax for painting flushed cheeks and ears.
Can you tell me about your Flowers from Home zine?
My zine, ‘Flowers from Home’ came about after my partner and I moved into our new house and I finally had the space to start gardening on my own. I started thinking a lot about native plants and researching plants native to the midwest. My studio work was consisting of a lot of still lifes based on Dutch Golden Age masters like Rachel Ruysch, and I started working on my own still life compositions based on dutch paintings but using native flowers. Once I got a lot of sketches built up I decided to draw them out on a larger scale and reproduce them in a zine.
I decided to focus on native flowers from both Minnesota and Missouri since those are the two places I’ve so far considered ‘home’, so my native areas, and group the flowers based on blooming seasons or growing locations like prairies and woodlands. It’s supposed to be semi-educational, since I did quite a bit of research going into the project I wanted the viewer to have to do some research as well. Each drawing is accompanied by a list of all the flora featured, but it’s in alphabetical order by it’s scientific name, so if you want to identify a specific plant you’ll have to look up the names to try to ID it.
I like the idea of appropriating Dutch Still Life and using midwestern native flowers in place of the exotic and cultivated plants the Dutch loved. Often times art scholars brush aside Dutch Still Life as a genre that’s purely aesthetic, but I find it extremely philosophical. Many gardeners as well tend to ignore the possibility of using native plants because they aren’t showy enough or they think they can get weedy, without realizing that actually a lot of cultivars you find in nurseries are bred from US native wildflowers, or that there are many possibilities and ways to include native plants in your landscape along with cultivated plant species. Both seem to be kind of mundane and humble in their own right, and I like the idea of combining them and using them to elevate each other.
Do you listen to music while you create? If so, what are some of your favorite music artists or bands?
While I’m working sometimes music can become too distracting and I find myself wasting time at the computer trying to find something or I realize I’ve been sitting there for several minutes just hitting the “skip” button. If I’m listening to something, it has to be familiar so I can use it to fill the silence but I can also just ignore it, but I usually don’t mind silence, a lot of the time I prefer it. If I need some sort of background noise though, I typically open up Pandora and put it on the Mirah station. I also like Pinback, Death Cab for Cutie, and Wilco for working music. A lot of the same indie music I’ve listened to since high school. Very often though, I will listen to Brontë Sister novels via Librivox. I’ve read them enough where I can tune in and out of listening, and I won’t ever get bored or frustrated and feel the need to skip the track.
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