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 Instagramand 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.
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: email@example.com.
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.
I’m so excited to introduce Annie Tarasova from the DreamyMoons Etsy shop. Annie is 21, from Australia, and has a beautiful and successful shop. You can follower her on Instagram and watch her videos on Youtube.
Can you tell me a little bit about yourself and your journey with your art and business?
I have been drawing, reading and creating ever since I was very little. All throughout high school I knew I wanted to go to university to study either art or design, however at the very last minute I changed my mind at the fear of too much competition in the art and design businesses. Instead, I went on to study health science. It was wildly interesting, however after two years I realized something was missing. I didn’t have any time to express and explore my creative side – the side I treasured the most since childhood. I felt like it was leaving me.
I took a break, started traveling, and opened my Etsy shop DreamyMoons which very successfully took off and filled my life with more purpose than ever. I made a difficult decision to leave Uni to follow my heart and intuition. I knew that I needed to pour all my energy into creating.
How has social media impacted your business?
Social media made a huge impact on DreamyMoons. Before opening my Etsy shop I already had a following as I absolutely loved expressing myself through photography and videos. I am so thankful for the audience I already had on Instagram that followed every bit of my journey and supported my business from the beginning. I feel like nowadays there is no better way to promote your business other than on social media – it is what we check if not every day, then most days.
I draw my inspiration for my art from our beautiful Universe. Through my art I am exploring the divine connection between us and the world around us. I am very interested in astrology and celestial bodies – I find it unbelievable that we live on a blue ball rotating around a star in nothingness. My artworks often contain stars, planets and moons.
I wanted to create something more than just a calendar. Year of Growth is a 2018 lunar calendar which shows what phase the moon is in every day of the year. Most importantly, the reason why I chose to call it “Year of Growth” is because every month has it is own goal and/or intention, whether it is meditation, spending more time in nature or writing. Each monthly goal is designed to help your journey to opening your mind and heart.
I travel. That is just as important to me as painting. I can not stay creative and productive if I am home for a long time. I have this crazy urge to travel. It is the best feeling coming back home from a trip, feeling fresh and inspired and motivated to make things happen. It really helps that my partner is a photographer – if he is away for a job overseas, he is able to take me. Travel is a break from expressing myself on paper, however not a break from creativity. I still love to take photos and film videos and share them on my social medias.
A few weeks ago a friend was telling me about this crazy new paper called Yupo paper – I know, sounds like a dog-sitting service or something – but really, it’s so fascinating! Yupo paper is actually a 100% synthetic paper that’s waterproof and recyclable!
So, I decided to walk into the local art store this week and grab myself a 5×7 pad of this stuff to try out. The first thing I noticed was how strangely smooth it was – it didn’t quite feel like plastic, but it also didn’t feel like paper either. If you have as much fun touching different materials as I do, you will love this stuff!
I also learned just from my own research that Yupo paper doesn’t tear, which is awesome! It means for the clumsy person like myself, you don’t have to worry as much about your expensive piece of watercolor paper tearing after you do that clumsy thing you’re so good at doing. It’s also supposedly very durable, built to last lifetimes, and you can wipe it clean if you need to during your artistic process.
You can also:
Die cut with it.
AND it comes in different gradients of translucency, or super hard white.
Use virtually any medium on it.
Some things I learned from trying it out myself:
Ink sticks REALLY well to it.
Watercolor takes awhile to dry (I mean, it takes awhile to dry on regular watercolor paper too, so that’s nothing new), but when it does dry, the colors are insanely vibrant.
Watercolor looks a little different then it does on regular watercolor paper – it’s got inky, cloudy quality that I’m finding hard to explain.
It doesn’t buckle at all, like watercolor paper does.
So, without further terrible explanation of what the stuff is and how much I loved it, here were my results!
Yupo paper can be purchased in most art stores, and I would definitely recommend buying some if only just to test it out for yourself! Because I love Amazon Prime, and I know there are a lot of people out there that love it as well, that’s probably the top pick I would go with if you’re just wanting to test the waters. You can buy a pad of Yupo 5×7 paper for only $6.79 on Amazon! Here are some other options you can find on Amazon – these are all Legion brand (that’s the one I tested) but there are other brands out there:
If you’ve ever used Yupo paper please leave a comment about it! What mediums do you use on it? Do you ever use the translucent one, and why? Is it better to get a pad or one of the large rolls? If you have pictures or a shop, please leave your link with your comment!
Can you tell me a little bit about yourself and your journey with art?
I’m just an artist approaching her 40s with a lot of wanderlust and a rekindled desire to return to making art into play. I have a creative job (that I love—senior graphic designer for my local Girl Scout Council) so I spend a lot of time looking at art as work. Work that I genuinely enjoy, but work nonetheless, and it bears the sometimes tiring and stressful mindset of “this is something I have to do to be an adult and pay the bills.“
I missed doing art for fun. I had kind of forgotten how to do art for fun. Before my current design job, I did a lot of freelance design and illustration while working other full-time jobs. If I was doing art, it was saddled with the baggage of needing to make money on it. I never really made art just for myself anymore, I was always creating for the client or for what I thought my audience wanted. And while I had once thrived in this mindset, it just wasn’t working for me anymore.
Happily, things changed. I was able to trade up to an in-house design position, with the luxury of a 9-5 schedule and an income that I can modestly live on. I suddenly had free time! To do my own art! But I didn’t, at least not right away, because it still felt like work. I’ve been spending the past couple years figuring out how to experience creativity and art as play again. Learning how to get away from the idea that my art has to make money, or be for someone else to enjoy. I’ve made a lot of progress, but it’s still a constant battle to keep myself out of the “work” mindset.
What does your creative thought process look like to create your work? What are your favorite materials to work with?
As part of my current creative journey, I’ve been discovering more about what I like to paint, and what kind of processes and techniques are actually fun for me. I love to play with color palettes and form, so bright flowers and beautiful landscapes have been a great source of inspiration, and I look for scenes with distinctive shapes and colors. I start my paintings very loosely and create large areas of color to map out my composition. I start light and work darker as I start to fill in smaller shapes and define details. And as the final step, I add line work in ink, watercolor, or white gouache. I use the forms as a guide, but I also let my lines travel with the flow of the paint. I love doing detail work and intricate lines, and this method lets me enjoy the process of mark making rather than worrying about where the lines go. It’s as ok to line outside of the colors as it is to color outside of the lines.
Watercolor is my favorite medium because it lends itself so well to creating both big lush, organic strokes and delicate, intricate lines. The portability and easy clean up are also a plus, and I like to carry a little watercolor kit with me in case inspiration strikes.
What has been one of your favorite creative projects or works of art that you’ve made and why?
“Sitka Tidepool” – it is one of the first paintings that I did in this style, and I was really pleased with how it came together. I love the deep, vibrant color palette and the variety of shapes and textures that I got to paint. As a younger artist I was frequently basing the success of a piece on how photo realistic it was, or how closely it matched my reference material. That perfectionism really held me back as an artist, it made me afraid to experiment, I’d get frustrated if I couldn’t meet the impossible expectations I was placing on myself. With this painting, I consciously gave myself permission to just play and have fun with it, and not care if I messed it up. I used my photo reference as inspiration rather than limitation, and as a result, I was really able to lose myself in the joy of painting and creating it. When I look at it, besides enjoying it visually and aesthetically, I remember the experience of painting it.
Do you listen to music while you create? What are your current favorites?
I’m almost always listening to music, or lately audiobooks and podcasts, while I paint. Some artists that are currently in heavy rotation in my playlists are BOY, Miner, Sara Hartman, Dessa, Mike Doughty, and the Decemberists. I’m a Spotify addict because I listen to everything from the 60s and 70s rock that my parents introduced to me to indie/alternative folk to contemporary pop. I usually like something a little more upbeat when I’m painting, something that makes me feel energized.
Can you tell me a little bit about yourself and your journey with art? What is life like in Finland?
I am a freelance illustrator, originally from Finland but I’ve been living in Scotland for the past 10 years. Drawing was always my favourite thing to do as a kid, and I can’t remember ever seriously considering of studying anything else than art. To be honest, I never thought I would actually make a living out of it but wanted to give it a go anyway, and so far it has worked out alright!
I moved to Glasgow to study at the Glasgow School of Art, and graduated with a degree in Illustration in 2011. The year after graduating was a bit hard, the difference between the art school and the real world was so drastic, I didn’t really know how to get commissions and how to in general start pursuing a freelance illustrator career. I ended up doing other random jobs, travelling, and eventually even went to study graphic design as I thought it would be easier to find work as a graphic designer. However, studying graphic design made me realize very fast that my passion lies in illustration, and that it really was all I wanted to do. So I dropped out after one year, and started working on my illustration career with a new motivation, and am still on that path!
So many of your pieces seem inspired by faraway places. What is the thought process and creative process like for these?
Yes! It really is one of my all time favourite themes to draw. The world is so full of magical, interesting places and cultures, so many countries that I want to visit – I know I probably won’t be able to see them all in real life, but on some level illustrating them can take me there. It can start from seeing a documentary, a photograph, hearing a song. It can also be a place I’ve visited myself, a feel of a location that I want to remember. I do some research, which can be reading about related topics, and of course looking at a lot of pictures. But I don’t want to replicate existing places exactly the way they are, my goal is to recreate the atmosphere of the location, to hopefully make the viewer be able to imagine how the place would feel (or to take them back there, if they’ve visited).
I do a lot of sketches of existing places, and then try to create my own scene from those. I also pay a lot of attention to colour, as I think every place has its own unique colour palette so getting the colours right can really help you to feel the place.
What has been one of your favorite projects or prints that you’ve worked on?
There’s been a lot of fun ones, but for some reason I’m now thinking about a project I did for my degree show years ago. I did a series of four screenprints called Sacred Animals, in which I looked at different cultures and their relationships with animals, and picked four interesting ones for my project. I had for example the royal white elephant of Thailand, where they are sacred and a symbol of royal power, and all those discovered belong to the king. It was the hectic final year of art school, but I got really into the research and loved reading and finding out more about the different customs and cultures. It combined my two favourite things, making images and learning about different cultures, and I guess that is why it still remains as one of my favourite projects ever. Which actually makes me think that I should do more of those!
Do you listen to music while you create – if so what are some of your current favorite artists or songs?
I usually do like to have something on in the background. But when I’m reading a brief, doing research or trying to solve a problem (composition, colours, whatever), i.e. having to actually use my brain, I might often work in total silence, or just have something very chill and unnoticeable music on. My recent favourite has been this lofi hip hop radio on YouTube, very chill and nondistracting. Too fast or crazy music will make me anxious and unable to concentrate!
Once I’m over the thinking part, I like to listen to podcasts, Radiotopia has some great ones, really love Strangers and Mortified and Criminal, then of course Serial was great as well as S-Town.. and plenty of others! And sometimes I like to watch documentaries or series on Netflix.
It is my pleasure to introduce Taylor Mason from the Mason Makers Etsy shop! Taylor and her husband Ryan are both designers living in Portland, Oregon and run their Etsy shop together, please visit their shop and their website to show some love after the interview! You can also follow Taylor on Instagram @taylormasondesign.
Can you tell me a little bit about yourself and your journey with art?
I am a graphic designer and painter living in Portland, OR. Art has always been fascinating to me, as a kid I played movies in the background and poured over library books, trying to replicate the sketches I studied. I was in love with the magic of creating, to see a pencil sketch come to life and create an illusion on paper was mesmerizing to me.
Today my passion for drawing and painting has only continued to progress. I love painting in oils and gouache. I primarily create landscapes and animals from my travels. I love plein air painting as well, there is something peaceful and challenging about being in the middle of nature and attempting to capture the light and colors in the moment.
Where do you draw your inspiration from for your oil paintings? What draws you to painting in miniature?
My inspiration for my paintings comes primarily through my travels. Locations such as Wyoming, Maui, Canada, California and Montana offer sweeping fields, large open skies, mountains, desert plateau’s, lava fields and rainforests. There is so much variation in nature and I find inspiration everywhere I visit.
I decided to paint in miniature when I ran across interesting wood rounds in a craft store. I like how small they are and how painting or staining the edges can mimic the frames of larger classical paintings. I’ve also found that people enjoy owning smaller, more affordable pieces, in contrast to larger commissions.
How did your series on Maui come into being?
My Maui series came to be through my trip to Hawaii last spring. I’ve visited the island several times, but on this trip because I’ve been more focused on painting landscapes, my eyes were more attuned to noticing details I hadn’t before. One thing I enjoy is the variety of climates in a relatively small area. Visiting volcanoes, rainforests, coastlines and wildlife provided me with an abundance of inspiration, and led to this series.
Can you speak to the creative partnership between you and your husband?
I met my husband Ryan through the graphic design program at our university. His humor and love for drawing really captured my attention. Today we enjoy sharing creative time side-by-side, sitting at our desks in the evenings as he draws comics and I sketch or paint. We also enjoy creative days outdoors where I paint en plein air and he sketches beside me. Ryan challenges and encourages me on a daily basis, helping me with my compositions and not letting me take shortcuts. I’m thankful to have a spouse who values creativity just as much as I do and enjoy pursuing our passions together.
It’s my pleasure to introduce artist Kathy Crabbe! During this interview, Kathy will speak directly about her Spirit Animal series and her artistic process. Make sure to show her some support by visiting her website and following her on Instagram @kathycrabbeart and Facebook.
Can you tell me a little bit about yourself and your journey with art?
I am a self taught painter since knee high to a grasshopper (love that saying!). I was always an artist and decided at a young age that I didn’t want to go to a fine art school because I had a style all my own and I didn’t want anyone messing with that since I tend to be easily influenced. I always wanted to attend both university and college and I’ve done that. I have an Art History degree and a 3 year diploma in Graphic Design. I moved to the States after falling in love with my husband-to-be and he convinced me I could live my passion and be an artist full time so we moved to Laguna Beach and I started doing the Sawdust Art Festival; a 2 month art fair where you build a booth and sell your wares 7 days a week, 12 hours a day. That was amazing! After 7 years we moved to the quiet countryside outside of Temecula Wine Country and I was pretty much a hermit for many years which allowed me to delve into the spiritual side of things which has found its way into my art, of course! I paint magical, shamanic beings, nature and animals because they surround me and I’m one of them.
Where do you draw your inspiration from for your Spirit Animal paintings? Does storytelling and narrative play into them?
I live in 2 countries; my home country of Canada (Ontario) and my adopted country, the USA (California) and both homes are on dirt roads surrounded by nature; one is in the forest on a lake and the other is in a desert valley surrounded by ancient oaks, cactus and an elfin forest so I’ve got plenty of nature and wild creatures to inspire me on a daily basis. I’m also a Celtic Faerie Shaman and my spirituality is a huge part of my life. My pets are also an inspiration. All of my Spirit Animal paintings would not be complete without the poem that bubbles forth in one quick stream of consciousness right after I finish the painting. Usually it’s late so I light some candles, take off my glasses and let the words pour forth. Originally I started out trying to describe the painting but that quickly morphed into poetry; my favorite mode of expression. The poems speak of the power and guidance we can draw upon from our animal guides and what their message is for us. The wild creatures are our teachers. They help us remember our wild self and are vitally important for our well being and our healing.
Can you tell me a little bit about your painting process and favorite materials?
My current series of Spirit Animal paintings were initially inspired after I purchased a small pad of 6×6 inch Montreal made watercolor paper in Kingston, Ontario (where I was born). I sat down with that pad of paper surrounded by the sounds of the forest and the water and immediately painted a cat woman with watercolor. That was in the summer of 2016 and I haven’t stopped since. I start with the face using my non dominant left hand because it’s my emotional, intuitive hand. I draw with a large soft piece of lead and the elfin figure that emerges tells me what kind of spirit animal belongs with her. I paint with watercolor and gouache and occasionally acrylic. I especially love Winsor Newton Series 7 brushes, M. Graham and Schminke gouache and Daniel Smith iridescent watercolors.
What has been your favorite achievement or project thus far? Do you have anything new and exciting on the horizon?
In regards to the Spirit Animal series, I am very proud that I paint them every single day and that I write a poem for each one. I share this on Instagram @kathycrabbeart. On the horizon I look forward to spending more time in the forest with the wild creatures and traveling and hiking more; there are so many wild places to see in this great North American land of ours. I also hope the Spirit Animals will continue to grace more gallery walls with their healing, magical presence.
I’m excited to introduce everyone to artist Emma Gray from Brighton, UK! I hope you love her whimsical work as much as I do, please make sure to show her Redbubble and her Folksy shop some love ♡! You can also follow Emma on Instagram (@em_menagerie) to keep up with her latest inspirations.
Can you tell me a little bit about yourself and your journey with art? What inspires you as a human and artist?
I live by the sea in Brighton in the UK and I sell my original paintings on wood and greetings cards in my Folksy shop, Menagerie. Most of my work is animal themed and I’m especially a fan of dogs. I often draw rescue dogs looking for their forever homes, and I take commissions for animal portraits. I also have a shop on Redbubble that sells prints and goodies like cushion covers, mugs and stickers (I’ve never grown out of my love for stickers!).
I grew up around various animals including a donkey, ducks, dogs and tortoises, all of whom I loved and found fascinating. One of my earliest memories was trying to make a dog out of clay I’d found in the garden, so the animal theme started young. I have a favourite photo of me as a toddler in a smock with more paint on me than there was on the paper and I also used to include unsolicited illustrations to accompany school homework!
I studied art history in Edinburgh whilst going to lifedrawing evening classes and selling paintings and mixed media work through shops and cafes. I’d received a subscription of ‘The Great Artists’ magazine as a young teen and art history was a passion, but, I sometimes felt like I was missing out on the creative journeys my friends studying Fine Art were making.
After university, I did a foundation course in art therapy and enjoyed how freeing it was to play and experiment using basic materials – big sheets of cheap paper we could tape together on the floor and crawl across as we made bold, imperfect marks with thick brushes, crayons and charcoal. It felt reminiscent of the joyful, present engagement with art that I had had as a child.
I continued to make for myself and for friends and family, working in various media including mosaic, printmaking and paper sculpture. But low mood had affected my confidence to sell to people I didn’t know and to remain motivated creatively. For several years I focused more on writing, and became involved with the local spoken-word short story scene.
A bout of depression in my thirties led me to a therapeutic art group, where, on the first day I painted pebbles. I managed to anchor myself more calmly in the moment with the activity and left with a intricately painted matryoshka pebble in my pocket. It seemed like a solid prompt to try to return to regular making no matter how I was feeling.
What began as a therapeutic pastime resulted in a growing collection of little painted animal pebbles. Inspired by Victorian cameos, I attached some to pins and ribbons to make brooches and these became my first listings in Menagerie. Wanting more space for detail, I later moved on to paint on wood. I enjoyed its warmth and texture and how the scalloped lasercut shapes I used provided their own frame.
Some milestones since I set up Menagerie have been some lovely galleries selling my cards and paintings, a piece being featured in Frankie magazine and exhibiting in the Artists Open House festival and Lewes Artists and Makers fair.
What past or current projects have been your favorite and why?
A favourite painting of mine is ‘Gratitude’. It features a crow with wings outstretched, surrounded by precious objects and was inspired by real life stories of crows who have gifted objects to people. I think we are living in an era that is particularly worrying politically. Bonds across species move me as examples of communication and empathy despite differences. I decided to go vegan two years ago and I think this has intensified my awareness of the sentience, instincts and intelligence of animals.
‘Gratitude’ began with an old mahogony frame that I found on the street. I cut a wooden panel to fit it and the shape leant itself well to the composition of the crow. The painting was also larger than the surfaces I’d been working on – it felt like I was stretching my own wings and taking up space. ‘Gratitude’ was the first image I added to my Redbubble shop – perhaps with hopes for a flying start.
Another of my favourite pieces that’s also available on Redbubble is ‘Swim Dog’. Earlier this year I set myself a daily art project with the theme of ‘strange creatures’. An unexpected outcome was a rediscovered love of drawing. ‘Swim Dog’ was inspired by a beautiful whippet called Yoji on Instagram. In one photo of him, he has his ears back and I imagined him in a bathing hat and old-fashioned swimsuit. The drawing includes three of my favourite things – sea-swimming, dogs and bad weather!
How has your experience been selling on Folksy and Redbubble? Any advice for new artists looking to start their own business?
I joined Folksy in 2012 and was drawn to it as a British company that’s also not so enormous that I might feel like a tiny fish in a big sea. The Folksy team have been great with championing my work on social media and including pieces in their Folksy Favourites and Gift Guides. I was also delighted to be a Featured Maker last year.
To anyone starting the adventure of their own online shop, I’d encourage you to expect and embrace the learning curve. It’s likely that along the way you will adjust your prices, modify your packaging, better identify your market and allow your creations to evolve. However, your customers shouldn’t be guinea pigs for products that are still in a stage of trial and error.
Unless you already have a big network, it can take time to get noticed and achieve sales, so it’s important not to be discouraged. Folksy has a lively forum where you can chat with other makers and share your work and tips. This can be a good way to feel part of a community and to up your profile. I’m quite introverted and not a natural self-promoter or networker, so selling under the supportive umbrella of Folksy has been helpful.
I would also say that it can help to put your art-selling eggs in a few baskets (I’m planning to start adding works to my neglected Etsy shop soon). I often hear of makers who, for example, have low or no sales at an art fair and lose confidence in their work when there were likely to be many factors unrelated to what they were selling that might have been at play.
Creativity can come with the gift of a greater sensitivity, but this quality can mean that a resilience needs to be developed when stepping into a selling and marketing role. Honestly, I don’t feel I’ve mastered this resilience myself, but I like the words in Rudyard Kipling’s poem ‘If’ that describe the life skill of being able to ‘meet with Triumph and Disaster, and treat those two impostors just the same.’ Praise and perceived success can be motivating, criticism and perceived failure can be discouraging. Both can be fleeting and subjective. So, it’s important to try to hold on to that deeper sense of what drives you to create, and to sustain that passion and journey with regular practice.
I started selling under Redbubble this year and I feel glad and grateful to have just reached 250 sales there. I appreciate having this space for my more diverse work from portraits of comedy heroes to the unicorn-esque ‘Magic Ladyhorse’. The latter, inspired by a gemstone-loving creature from Philippine folklore, is my bestseller and one of my works that’s been featured on Redbubble’s homepage. The featured works have led to many more sales and this has been a good lesson in the value of exposure.
With Folksy, I get the chance to package up original artwork, include little extras like a greetings card and write a personal thank you to my customer. I miss not having this with Redbubble, but I do value the ease of merchandise being produced and shipped by someone else. When I make a sale on Redbubble, the buyer remains anonymous so the process can feel quite impersonal. However, I still enjoy imagining the ‘Someone in Sweden’ wearing their Lord Magpie T-shirt or who the ‘Someone in the UK’ might be who bought the Party Igor greetings cards (and who, apparently, shares my love of the absurd!).
Can you tell me a little bit about the creative process that goes into your painted animal pieces?
My oval paintings on wood are usually inspired by a photo of an animal. I think we are all hardwired in anthropomorphism to a degree from children’s book characters, and particular photos inspire imaginings of names, personalities and outfits. I’m not a fan of real animals wearing unpractical, restrictive clothing, but I hope my paintings are fanciful enough not to be promoting this!
I use lasercut wood that I buy from a Welsh company called Daisymoon Designs, whose profits help support their own menagerie of rescued animals. I tend to draw designs straight on to tracing paper that I can then transfer to the wood to get the composition right first time. I also sometimes use Derwent Inktense pencils to broadly lay down colour first, especially if I want a painting to have stronger hues. I use acrylic paints, small brushes and a paper palette so I can tear off a fresh new sheet for each piece. Sometimes I’ll add extra detail in pencil and fine pen.
Painting the eyes first helps bring a character to life for me. I’m especially drawn to grumpy looking animals in party hats, but I have a tendency to involuntarily mimic the expressions of who I’m painting. My face needs timeout after particularly morose subjects!
Most of my animal characters have names – they seem to name themselves. Sometimes I imagine larger back stories as I’m working, especially for a piece that has more of a folklore feel. Whilst working on my painting ‘Home’ featuring a white stag holding a nest in his antlers, a short story emerged that then informed details of the image. The story can be found in my Instagram feed.
What are you currently listening to?
I work in silence or listening to anything that feels like gentle, undemanding company. For me, BBC Radio 4 has this quality, as does Cerys Matthew’s weekly show on BBC Radio 6. I appreciate Cerys’ curious and celebratory delight for people, music and poetry and most of the music she plays (and often introduces me to) would be welcome on my own playlist. I also enjoy podcasts and a favourite is ‘The Mental Illness Happy Hour’ presented by comedian Paul Gilmartin. I’ve found this show full of insight, courageous disclosure and just the right amount of humour. What am I listening to right now? Squawking, squabbling seagulls roosting on the roof opposite. This is the soundtrack for most people in Brighton!
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.