Friday, August 31, 2012

Coming up at the Dedham Guild


September is going to be an exciting month! We are presenting our September Artist of the Month Series: Luke Barry... Mini Artist

Luke is Guild-artist Jill Barry’s 7-year old son. As a child with autism, Luke often uses his art to communicate. Sometimes whimsical, very colorful and always expressive, a limited number of Luke’s drawings will be on view and available for purchase during September. 100% of the proceeds from sales of Luke's drawings will be donated to Community Autism Resources and Luke's Crayon Fund.

We also have some great events planned around this series:

First Thursday
Thursday September 6th — 5pm-8pm
Guild Member Jill Barry will be at the Guild working on a mosaic piece. She will be available to answer questions about her mosaic-work and her son's drawings



Patron Member Event
Wednesday September 19th — 6pm-8pm
This event is only open to our Patron Members. Patrons will receive a special Preview of new artwork by Luke.

Refreshments will be served.
Not a Patron? Want to become one? It's easy, and memberships start at only $25! Visit our website at www.dedhamguild.com/patronmember to find out how, Click Here to download a Membership Form, or stop by the Guild during open hours for more information.

Public Opening Reception
Thursday September 20th — 6pm-8pm
Join us for the Public Opening Reception to view and celebrate Luke's work. Please remember that 100% of the proceeds of sales from Luke's work will benefitCommunity Autism Resources and Luke's Crayon Fund. This is sure to be a very special event! Refreshments and small bites will be served.
Check out our video slideshow on youtube! http://www.youtube.com/watch?v=WHCvWI9oqnM&feature=youtu.be

Classes/Workshops



Created from the fantastic series of blog posts by Guild member Richard Humphrey. This introduction class for beginners will cover color theory and techniques. In 3 sessions you will complete a miniature oil painting! For more information: www.dedhamguild.com/introoilpaint
Register August 28th to September 20th



Create a paper bag owl puppet! Join Guild member Marietta Apollonio, for this 1 hr workshop. For more information: www.dedhamguild.com/owlpuppet
Register by October 13th


sneak peak to october!


Richard Humphrey has issued a “challenge” to his fellow members of the Guild. A theme has been provided and the artists of the Guild have been set loose to explore and capture this theme with art. Guest judges will issue Best in Show awards including 1st, 2nd and 3rd place.

"Challenges" will be held numerous times throughout the calendar year and Opening Receptions and Gallery Shows will be held at the Guild on the Third Thursday of the month after the "Challenge" has been issued (unless otherwise noted).

October Artist Challenge Theme: Cape Cod
Artists Participating in this Challenge: Lisa Walker, Alice Donaldson, Cindy Mootz, Dennis Stein, Gary Koeppel, Gillian Jackson, Iris Sonnenschein, Jill Barry, John Dorsey, Kerry Hawkins, Maggie Carberry, Marietta Apollonio, Melanie Guerra, Nicholas Conte, Wendy Birchmire
and Ted Cormier.
Public Opening Reception: Thursday October 18th!

Wednesday, August 29, 2012

Call to Artists, Dedham Guild



The Dedham Square Artist Guild is looking for new applicants interested in becoming 
members of the Dedham Square Arist Guild.

The Dedham Guild is a year-round arts cooperative located on High Street in historic Dedham Square. Our members share work responsibilities, expenses and informally act as a support group for fellow artists. Many members are full-time professionals who find cooperatives a welcome addition to help strengthen their participation in an artistic community.

fee
A $20 non-refundable jury fee is required when applying for membership (or consignment) and should be included with your application. All applicants will be placed on a wait-list, pending space availability at the gallery for our new year of membership starting in October 2012. The application is available as a pdf download located at the bottom of this page.

samples/jury
Upon receiving your application and fee, you will be asked to submit up to four finished and current examples in jpg format. Each file should be no larger than 1MB. Our group of members will judge submitted work by the following criteria: workmanship, attention to detail, appeal to our customers, originality, price and durability, as well as competition with current pieces showing.member obligations
members are expected to volunteer to gallery-sit, participate in events, be a part of committees, attend monthly meetings and openings, and help promote the cooperative.

For any questions please contact: staff@dedhamguild.com

Application Form here

Tuesday, August 28, 2012

sip and read, by Lisa Walker


To Sip in Summer:
Watermelon Berry Sparkler 
recipe from Redbook - makes 16
  • 2 cup(s) watermelon, cubed and seeded
  • 1 container(s) (6 ounces) red raspberries
  • 2 tablespoon(s) superfine sugar, use 3 tablespoons if too tart
  •  cold brut champagne or prosecco (dry Italian sparkling wine
  1. Puree watermelon and raspberries in a blender. Scrape mixture through a fine sieve into a bowl; discard seeds. Stir sugar into puree (adding more if too tart). Puree can be made up to 1 day ahead and refrigerated.
  2. For sparklers, pour 2 tbsp puree into each champagne glass and top with 4 oz cold brut champagne or prosecco. For a nonalcoholic version, use club soda or seltzer instead.
To Sip from:
Pretty dishwasher safe tumblers
dedham square artist guild
To Read (while sipping):
1. The Pioneer Woman Cooks: Food from My Frontier by Ree Drummond
2. Dinner: A Love Story: It all begins at the family table by Jenny Rosenstrach
3. The Smitten Kitchen Cookbook by Deb Perelman (due out in October!)

Sunday, August 26, 2012

Creating, Dedham Farmer's Market






Dedham Guild Member Lisa Walker had a fun demonstration of her work at the Dedham Square Farmer's Market several weeks ago. It is wonderful to see an artist at work. Look for more demos and Members of the Guild at the Market.

If you haven't been to the Market it is 12-6pm on Wednesdays. There are bread, meat, eggs, lots of fresh produce and community groups all at the First Church Green in Dedham Square.

Saturday, August 25, 2012

Utility Boxes Transformed, Dedham Public Art Project

By Jen Barsamian Dedham Guild and Dedham Shines Co-founder

A blank canvas!




The latest trend in public art is to take ugly eyesores, like utility boxes, and turn them into works of art.  Utility boxes from Boston, Cambridge, Newton, Stowe, Maynard and beyond are challenging local artists to create mini-murals and make art apart of the local landscape.  Dedham Shines, the non-profit with the Dedham Public Art Project under its' umbrella, is launching  this project at a time when public art in Dedham is highly visible.  


Marietta supplies for her work of art




Everyone is enjoying the Dedham rabbits, but they'll be hopping away at the end of October. Utility boxes are here to stay and what a better way to add some color to the town by painting these 3-dimensional canvases? This first box is painted by Dedham resident and Dedham Square Artist Guild co-founder, Marietta Apolloino. In one day she transformed this large grey mass into a field of whimsical flowers that makes me smile every time I pass by. Look for these popping up all over town! For more information visit: www.dedhamshines.com/dpap

This box is located on High Street near the Dedham Clock in Dedham Crossing. Check it out for yourself.

Thursday, August 23, 2012

Anatomy of a Miniature - Part Six

by: Richard Humphrey
Dedham, MA
Dedham Guild Member since 2011
 
Moving forward from Part Five - we're going to create a medium green with
our palette knife of Cerulean Blue, Sap Green and Lemon Yellow. Using out
1/4" Angle Shader, we're going to lightly tap "highlights" onto the fore-
ground trees. (See Photo 1)


In this next phase, we're going to use a palette knife to lay in our walking
path with a Van Dyke Brown / Cerulean Blue mixture. Highlight the path
with a touch of white on the palette knife using sweeping, horizontal strokes.
Keep an eye on your perspective. The trail gets wider as it nears the bottom
of the canvas.

Now using the green mixture from previous, we're going to add a touch of
Yellow Ochre to tone down the green. Take your #2 Flat Bristle Brush to
begin laying down our brush along the path. (See Photo 2)



In this last step, we'll take pure Lemon Yellow to add a few bright high-
lights to the bushes and shrubs. And the painting is complete! (See Photo 3)


These small miniatures are a gateway to larger scale pieces. The same
techniques can be applied to any size painting you might want to attempt.
 
The final piece of this series, entitled "Distant Mountains" is now currently
at the Gallery along with a number of additional Minis.
 
Feel free to contact me at Rithum_00@hotmail.com should you have any
questions or visit my Facebook page at www.facebook.com/Studio113

Drop by the Gallery to see Rich's art in person



Wednesday, August 22, 2012

Wild Blueberries by Guild Member, Lisa Walker




Close to one half million pounds of Wild Blueberries are harvested every year in Maine from late July until the end of August. They are different from traditional blueberries as they are smaller and less sweet, richer in color and juicier.

Food and Pottery Connection:

Food: 
Maine Blueberry Muffins - 12
Junior League of Portland, Maine Cookbook

1/2 cup plus 2T butter
1 3/4 cup sugar
3 eggs
1/4 cup plus 1T milk
3/4 tsp vanilla
2 1/2 cup flour
1 1/2 tsp baking powder
1 1/2 cups blueberries

1. Preheat oven to 425. grease muffin tins.
2. Cream butter and sugar. Add eggs, milk and vanilla. Add flour and baking powder. 
3. Fold in Blueberries.
4. Bake 23-25 minutes

Pottery: 
Square Plate 
with slip-trailing and stamping
(...perfect size for 4 or 5 muffins...)
This plate (and a few other pieces of art from the Dedham Guild) will be for sale at the Dedham Farmer's Market tomorrow on the green from 12-6

Tuesday, August 21, 2012

Ancient Angles, Rouen by Guild Artist Kerry Hawkins



Rouen, France

Part of Kerry Hawkins new series coming to the Guild soon. She has just traveled to Normandy, France and has taken lots of photos of the city of Rouen and Normandy.

Monday, August 20, 2012

This Thursday, Gallery Talk by Barye Lane Hall



Join us on Thursday, August 23 from 6 to 8pm for a closing reception of our August Artist of the Month Series, featuring Guild artist, nature photographer and Dedham local, Barye Lane Hall. Barye will be giving a short Artist Talk from 7pm to 7:30pm about his nature photography.

Light refreshments served



Saturday, August 18, 2012

Anatomy of a Miniature - Part Five

by: Richard Humphrey
Dedham Guild Member since 2011
 
Continuing on from Part Four - Our color mixtures for these steps is going to be Van
Dyke Bown with a touch of Cerulean Blue. This color should be a dark "greenish-grey"
in apearance.
 
You'll want to this this mixture a bit by adding a drop or two of a painting medium. 
"Medium" is the term used for the fluid that surrounds the pigment and facilitates its
application to a surface. In the case of oil paints, the "medium" consists of a "binder"
and a "thinner" and to a lesser degree, "additives" such as varnishes, resins, drying
agents, textual materials. Classifications of the "mediums" are:
 
Binders: The binder is the most important element in a the medium as this is what adheres
to the painting surface, holding the particles of pigment within it and drying to form the 
paint film. Oil paints, by definition, have a drying oil as the binder and the tubes of paint
that we buy contain the pigment already ground in just enough binder to secure its 
storage and ease its transfer from tube to palette. In some cases, you'll need to add
additional binder to the paint on the palette to make them workable with a brush. The
most common binders include: linseed oil, raw linseed oil, refined, cold-pressed and 
sun-bleached linseed oils, walnut, poppy and safflower oils. 
 
I use the refined linseed oil. Been in use since the eighteeth century, refined linseed 
oil is the standard binder in most tubed paints.
 
Thinners: If paint is diluted with oil alone, it may wrinkle, become yellowed, or take 
too long to dry - so a "thinner" is sometimes mixed with the binder to help aid the flow
of paint. The thinner does not remain in the paint film as it evaporates from the surface.
Common thiners are: distilled turpentine, Artist's mineral (white) spirits, and odorless 
thinners, often called "Turpenoids."
 
Once the paint and medium is mixed, we'll use the corner of a #2 Fan Brush to "block in"
the formation of the foreground trees and banks below the distant tree-line. (See Photo 1)
 

Moving forward in the painting, continue "blocking in" the remainder of the landmasses
and bushes. (See Photo 2)



At this stage of the painting, we're not too worried about "details" as when we come back in the finale, Part Six, our next layers of paint will bring this "blocking in" segmentto life. You'll see that with a few simple brushstrokes, we can add an amazing amount of details to complete our painting. Our color palette for Part Six will include all the Cadmium Yellows, Burnt Sienna, Sap Green, White, and of course, Cerulean Blue. 

Stay tuned!!!

Wednesday, August 15, 2012

Anatomy of a Miniature - Part Four

by: Richard Humhrey
Dedham Guild Member since 2011
 
Continuing on from the August 2nd Part Three blog post - Now that the canvas board has had time to 
dry, we're going to start adding some detail work
 
Remember - the base color for all the color mixes we're going to do is Ceruean Blue. Color Continuity.
 
Using Viridian Green and a touch of the Cerulean Blue, mix the two together to create a dark, greenish-
blue mixture. This color should be very dark, however, somewhat transparent. Using a #2 Flat Bristle 
Brush, loaded with the mix, tap downward and across to form your "tree-line." (See Photo 1)


 Once this color has been applied, take your 3/0 Liner Brush, and using short, quick, vertical strokes, drag
some of this color upwards to give you the "impression" of tree tops. (See Photo 2)


At the base of this tree-line, tap in some Titanium Whitem, blending it upwards into the distant trees. This
gives the "impression" of mist and also serves to "push" the tree-line farther into the distance. Carry the
white downwards to create your lake water, picking up a bit of the tree mixture and sweeping it across the
canvas to give the water a sense of "depth." (See Photo 3)


Allow this to dry. In Part Five of the series, we'll be looking at "blocking in" the foreground area, deciding
where our shapes will be placed and planning the remainder of our color palette to use in the Finale of the
series. Stay tuned!!!

Tuesday, August 14, 2012

Connections


Visit me at the Dedham Farmer's Market on Wednesday, August 15th from 12-2.

I will be demonstrating on my pottery wheel
...a vase, a bowl, a plate and bowl (chip and dip), spoon rest and tumblers!

I'm a Potters Place potter and a Dedham Square Guild Artist.  Ask me about both!
Potters Place is my cooperative pottery studio in Walpole, MA.  I make my work here with 22 other clay artisans.
Dedham Square Artist Guild is my cooperative gallery where I sell my ceramic art with 28 other artists. It's right down the street from the farmer's market at 553 High Street.

Purchase your fruits and veggies, plus a lot of other wonderful fresh options (seafood, bread, ...) at the Dedham Farmer's Market.  Think about serving these items in locally made pottery.  That's the food and pottery connection!

Sunday, August 12, 2012

Iphoneography in LA MobileArts Festival 2012, DSAG Member, Dennis Stein




Congratulations to Guild Member, Photographer and iPhoneorgrapher, Dennis Stein for having four works selected for the LA MobileArts Festival 2012. The three iPhone photographs (above) will be displayed as part of the festival. The bottom photo will be in there slide show projected at the show

Read all about the show and see Dennis's work at our own Gallery


Tuesday, August 7, 2012

Photos from Weld, Maine -- by Dennis Stein

 (photo by Dennis Stein)



These were taken at the Kawahnee Inn in Weld, Maine. Our boys go to Camp Kawahnee and the inn is very near there, so we've been staying there for a brief getaway, and to visit the boys.  I used to print black-and-white before I moved into the digital world.

 (photo by Dennis Stein)

It was very foggy that morning I took these photos, so my b/w vision kicked in. Shot with an iPhone 4, Hipstamatic app, with the Jane lens and Claunch Monochrome 72 film. Straight, no other adjustments or apps.

Find more photography by Dennis Stein at the Guild, located at 553 High Street, Dedham Square. 

Visit our Website at www.dedhamguild.com and find us on Facebook and Twitter!

Sunday, August 5, 2012

wild squiggly lines

by Marietta Apollonio

Black, white and color. The basic description of any of my acrylic paintings. On a wall they are striped fun, with intricate line details. One painting will take about a week, with most of the time spent bending over a canvas with a 00 brush; my neck and shoulders feeling angry and my eyes blurry. The result always makes me happy. Like running 10 miles (which I don't actually do, but I imagine if I did, the sense of accomplishment would be the same).

 (River Town, acrylic on canvas, ©2011 marietta apollonio)

It's a process that couldn't last forever.  Recently I decided to jump back into watercolor. In fact, up until a few years ago, I primarily used watercolor, and had done so since attending the Art Institute of Boston's undergrad Illustration program. There I met possibly the greatest teacher I've ever had, Tom Barrett. Specifically I remember a day in his Illustration Techniques class, where for whatever reason I was unprepared and did not have the necessary tools for that days lesson. Tom let me use his watercolors. And I was hooked from there. I have carried that simple illustration of a broken pencil from place to place; up until not long ago when a very good friend begged to have it.

 (Dr. Ph Martins Radiant Concentrated Watercolor. Definitely my preferred type of watercolors)

Also during that same Techniques class I decided to merge pen and ink with my watercolors. I believe at one point during a critique it was "Here's Marietta and her crazy pen work". The combination, in my mind, finishes a piece. Often I look at a watercolor before the pen, and I get the overwhelming sense that it is not finished. I need that pen and the watercolor needs the wild squiggly lines. 

Herein lies where my watercolor and acrylic work is similar. Sure the mediums are different (although both water based), but the thought process is still the same for me. I like little details; adding in something small that only someone really looking will pick up on.

But why the switch. Well, I can't really say. Maybe it's nostalgia; looking back to my college days and remembering how much fun watercolor was for me. Maybe it's the heat of the summer and mentally wanting a lighter process (in time and medium) of creation. Whatever it is, I'm definitely enjoying myself and I hope that everyone else enjoys seeing it.

 (I began working on this illustration during the middle of July -- image ©2012 Marietta Apollonio)
Materials:
Aquarelle Arches hot pressed 140lb
Dr. Ph Martin's Radiant Concentrated Watercolor 
Faber-Castell India Ink pens


(Note quite done. Still need to add some darker spots and then of course, pen -- ©2012 Marietta Apollonio)


(Pen added. Check. Finished. -- ©2012 Marietta Apollonio)


(close-up. -- ©2012 Marietta Apollonio)










Thursday, August 2, 2012

Anatomy of a Miniature - Part Three

by: Richard Humphrey
Dedham Guild Member since 2011
 
Continuing on from Part II - In the following steps, we're going to attempt to achieve harmony 
and continuity in the piece. One way of achieving these effects is to add a bit of one color to all
the color mixtures, including the whites, used in the painting: in this case, Ceruean Blue. Now
remember, Cerulean Blue is an opaque paint. It's a strong mixer, so a little bit goes a long way. 
 
Picking up a bit of Titanium White, slightly tinted with a very small amount of the Cerulean Blue,
lightly skim the blade of a painting knife (in this case I'm using a small diamond-shaped knife)
down the right side of the mountain peaks. (See Photo 1)



Adding a touch more of the Cerulean Blue to the existing White-Blue mixture we just used, we'll
skim the shadow side of the peaks. We're looking for a value somewhere between the sky color
and the white. Using the very tip of the knife, we can create "texture" in the peaks. (See Photo 2)


By using either a Filbert or an Angle Shader soft hair brush, I'm blending some of the "white" downwards and across, to give a two-fold appearance of distant and mist. (See Photo 3) 


Allow this to dry completely before continuing on. Stay tuned for Parts Four and Five coming in
August!