Aisling | Aisling

Art, energy and originality

This morning, I was looking for a quote by Stuart Wilde, in his slightly-renegade book, “The Trick to Money is Having Some.”

Here’s a section that I particularly like, about making money:

(He calls the mundane/average world, “tick-tock,” since people live by the clock in that world, and it can be metronome dull.)

Once you can infuse your life’s energy with enthusiasm, creativity, and originality, the things you offer the world take on a different tone. Now you are no longer competing with tick-tock and you can charge what you like.

(Later, he qualifies that by explaining that you don’t take unfair advantage of people, of course. You just don’t undervalue what you do, because it’s the energy that you can instill in it that’s valuable.)

As artists, I think that it’s important for us to remember that we’re not competing with J.C. Penney or even Bloomie’s… not unless you’re licensing your art, that is.

Find what brings energy and creativity bubbling up inside you. Do a lot more of that.

Infuse your art & your teaching with that energy. That is what makes you–and what you sell–unique. That’s what people want.

If all they want is to stay warm, they can buy a plain wool blanket at the Army surplus store. That’s practical, but it has no unique energy.

What people need in their lives is not the plain wool blanket. They want the lovely (or wild) quilt that makes them smile every time they look at their bed. That is the quilt that they’ll show to friends, and get compliments about. It’s also the quilt that they’ll draw up to their chins at night, and fall asleep smiling, because it makes them feel good.

Okay, we’re not all fabric artists. But… you get that point, right?

Keep that in mind: We infuse ENERGY in what we make as artists. That’s where the value is.

What art teachers are paid

Many teachers won’t talk about how much they get paid. They don’t want to risk future gigs by revealing the financial side of events. After all, many teachers make more at a four-day event than their students earn in six months.

Some event organizers won’t talk about money, either. They prefer to keep their profit margins a secret.

I got tired of teaching at events that put profits and politics ahead of students’ interests, so I have no hesitation about sharing this “insider” information with you.

Don’t teach just for the money. Your first priority should be your students. But, if you want to earn a living–or supplement your income–with art classes, here’s how to begin and how much you can earn.

Start teaching locally

If you haven’t already read it, start with my article, How to start teaching art.

New teachers should ask the shop (or whatever the venue) what their usual rate is for a new teacher.

Shops usually pay less than events do. In 2004, shops paid me $10 – 30/student for a half-day class. For ten students, that’d be $100 – 300 for three hours’ work. But, when I started, I was often paid a flat fee, like $30 for a two-hour class.

(For $30 per class, total, I taught locally… usually within a two-hour drive of my home.)

Today, it’d cost more to drive that same distance. But, keep in mind that your students are driving, too. Some of them will pay more in gas than the cost of the actual class. Keep your class prices as low as you can.

National art festivals, shows and events

At national events, organizers often tells you up-front what they’re paying (usually between $50 and $150 per student, per day, for full-day classes). In some cases, they ask you to set the rate; then, they add on their administrative charges.

Remember, the biggest single expense for many events is not paying the teachers, but renting the hotel rooms that we teach in.

Hotels give events a price break if a certain number of guest/sleeping rooms are rented by conference goers. However, event organizers can’t count on that when setting student prices.

So, don’t gasp for air when you see your fees doubled or an even higher price that the students pay, so that the organizer can afford hotel classrooms.

Everyone wins when events are priced within the budget of the average art enthusiast. Those who are willing to accept “summer camp” accommodations–and sometimes ho-hum meals–can still enjoy a fabulous week of inspiration.

No two events will offer the same pay, or the same benefits. If you keep your focus on the sheer joy of sharing art with your students, you’ll almost always go home happy… and so will they.

How I set my prices

When events asked me to set my prices, they were based on several factors.

(A) The going rate. If I priced myself too low, students got the idea that those classes weren’t valuable. If I priced myself too high, I didn’t get enough students. It’s a tricky balance, and always a risk.

(B) My expenses. It cost me more to teach in Washington State than it did to teach in Houston. I checked flight costs, car rentals (if necessary), hotel (sleeping room) fees, and so on.

When you’re new to national events, you may actually lose money the first couple of years, until your student registrations are high enough to cover your expenses.

Yes, I taught at a loss, but–in those days–event organizers weren’t making large profits either.

If it was a great audience and a fun event with no headaches, I’d set my “minimum number of students” figure at the break-even point.

If it was a high-stress venue where I could count on “surprises” that could short-change my students, I was less eager to accept the gig.

beyond

No two events–or event organizers–are the same. But, some events will be more personally rewarding than others.

At most events, the opportunity to spend about a week with like-minded artists… Well, it can’t be put into words. It is one of the best experiences in the world.

When things go awry, they’re generally minor; no event is perfect, and most event organizers go out of their way to make up for inevitable “oops” moments.

And, when things go well–as they usually do–each class is rich in ways far beyond the paycheck.

Be sure that you can afford it

I can go on & on about the non-monetary rewards of teaching, but that “bottom line” can be the make-or-break issue for teachers.

You’ll need preparation time before an event, and R&R time after an event. Even when it’s a fabulous event–and most of them are–it’s still stressful.

Whether you travel into jet lag territory, or stay up late each night at journaling parties, you’ll probably go home exhausted… but happy.

I generally figured that it would to take me 3x the amount of time that I was gone, to catch up on sleep and general rest, in addition to the tidal wave of phone calls, emails and snail mail that awaited me when I returned to my studio/office.

The income builds slowly

Don’t expect to make much money the first year. And, even when you’ve been teaching for awhile, remember that the paycheck represents far more work hours than the time you spend in front of a class.

That said, once you reach the point where your full-time income can come from your art…. Well, I’d much rather be a professional in this field than doing almost any other kind of work.

Related link: The Benefits of Teaching One-Day Workshops (at ArtBusiness.com)

History of Paper Dolls – Part 2 of 2

Note: This is the second part of a two-part article tracing the history of paper dolls. See The History of Paper Dolls, part one to read the first part.

20th century paper dolls – A brief history

In the 20th century, other magazines followed this trend, including Ladies’ Home Journal (Sheila Young’s “Lettie Lane”), Pictorial Review (Grace Drayton’s “Dolly Dingle”), Good Housekeeping (Sheila Young’s “Polly Pratt”), and the famous “Kewpie Dolls” by Rose O’Neill in Woman’s Home Companion.

At right, Little MaryJane, one of the famous Hader paper dolls from Good Housekeeping magazine.

The most popular paper doll of the mid-20th century was probably Betsy McCall, created by Kay Morrissey. However, children also enjoyed paper dolls in many magazines of that era, including Jack and Jill Magazine, and Children’s Playmate.

Since 1962, Barbie paper dolls have become the most popular among American children.

Paper art dolls, and fine art paper dolls – Where to find them now

Today’s paper doll designers frequently have backgrounds in fine arts. Many of them work together as part of the Original Paper Doll Artists Guild, based in Kingfield, Maine.

Their collectible paper dolls often feature celebrities and fashions from history, and are intended for both adults and children.

Paper dolls by Aisling — One of my designs for Art Doll Quarterly, Winter 2004 issue.

Paper dolls have been emerging for several years in the paper arts community, too. My own article (and pattern) in the Winter 2004 issue of Art Doll Quarterly is just one among many places to see examples of this emerging art form.

One of my designs is at right. The dolls were printed on vintage pages, and hinged with small, brass round-head paper fasteners. The hair was tinted wool (designed as doll hair), accented with feathers. Each doll was hand-colored.

Sometimes called “fine art paper dolls” and also “paper art dolls,” even the name is still evolving.

Today’s paper art dolls are sometimes drawn, painted or printed on paper. However, even more of them are one-of-a-kind, and more mixed media dolls than purely paper dolls.

For example, some artists swap hinged dolls on Artist Trading Cards (ATCs), and participate in exchanges and round robins involving paper art dolls.

This is a very exciting field, mixing a nostalgic love of dolls, with fresh and vibrant creative expressions.

References

(Note: This article was written around 2005. These links may not be current.)

Bellis, Mary: History of Paper and Papermaking (About.com)
Gilbert, Anne: Before Barbie, kids dressed up paper dolls (Cincinnati Enquirer)
Hughes, Kristine: The 18th Century Fashion Doll (Romantic Times)
Johnson, Judy: History of Paper Dolls (OPDAG)
UNT Libraries: Pop-up and Moveable Books: A Tour Through Their History
Welsh, Roma M.: The History and Charm of Paper Dolls (About.com)

History of Paper Dolls – Part 1 of 2

Today’s paper dolls evolved from ceremonial and performance figures, and dressmakers’ fashion dolls.

General history

Paper was invented in China around 105 C.E. by Ts’ai-Lin, a courtier from Lei-yang. Although the word ‘paper’ is derived from ‘papyrus’, this early paper was not a papyrus product.

With paper’s development in nearby China, it should be no surprise that the earliest paper dolls were reported in Japan in 900 C.E. (or earlier), when a purification ceremony involved placing a paper figure and a folded kimono-like object in a boat.

According to legend, China was likewise responsible for the Spanish pinata when 13th-century explorer Marco Polo brought the tradition home from his travels in Asia. It is possible that the Western movement of paper dolls began in China, where puppets were used in shadow shows. These large puppets were often flat and mounted on sticks to create dramatic shadows on a screen.

Some paper doll historians include the shows created for the upper class in France, where life-sized jumping-jack figures, like marionettes, were used to satirize nobility. Other cultures practicing a variety of paper arts—including the German scherenschnitte—may have influenced the development of paper dolls.

However, our modern paper dolls trace a more direct history to traditional dolls, not puppets or even paper arts.

Dolls in general date from earliest recorded history.

Manufactured dolls trace their European popularity to wooden dolls made in Germany in the 17th century. To meet demand by the early 18th century, German dollmakers were employed throughout Europe.

Modern paper dolls

Paper dolls appeared in Western society in the late 18th century, when French dressmakers’ life-sized dolls were replaced with the “English fashion doll.” These eight-inch tall figures were printed on cardboard (invented by the Chinese about 200 years earlier), and jointed with threads. They came with underclothing as well as several changes of dresses and coiffures. At about three shillings (about $15 in today’s American dollars) for a complete doll and wardrobe–plus an envelope to store her in–dressmakers could afford to own several sets, and distribute these dolls among their favorite customers.

In 1810, the London firm of S. & J. Fuller & Company printed the first commercially popular paper doll, Little Fanny, with a 15-page book that included seven figures and five hats. Fanny’s head & neck were separate, and fitted into various outfits as the moral tale, The History of Little Fanny: Exemplified in a Series of Figures, was told. (Fuller also published the earliest “peep show” books, which were hinged, tunnel-style books.)

At five to eight shillings for each book, their primary audience included wealthy families. (Today, that’s the equivalent of 9 to 15 pounds, or US$13 – $22.)

The success of Little Fanny was followed two years later in America when J. Belcher printed a paper doll with a similar moral tale, The History and Adventures of Little Henry. Within ten years, boxed sets of paper dolls were popular playthings for children in Europe and America.

These dolls were often lithographed or hand-tinted, although some were left black-and-white for children to color.

Beginning in the 1830s, celebrity paper dolls featured entertainers such as ballerinas and characters from the P. T. Barnum Circus, as well as British royalty. In 1838, when Charles Fenerty made the first paper—newsprint—from wood pulp, the price of paper dropped dramatically, making paper dolls affordable for more families.

McLoughlin Brothers in the United States—later purchased by Milton Bradley—quickly became one of the largest manufacturers of paper dolls, printing them from engraved wooden blocks. Dottie Dimple was one of their most successful paper dolls, and McLoughlin was a leader in this field throughout the 19th century.

Several other American companies, including Crosby, Nichols & Company (Boston), Frederick Stokes, and—later—Selchow and Righter, contributed many different styles of paper dolls to meet popular demand.

During the Victorian era, Godey’s Lady’s Book, was the first magazine to publish a paper doll in their November 1859 issue.

This article continues in History of Paper Dolls – Part Two.

When NOT to Teach

As artists, our intense desire to share creativity with others can override common sense.

Keep this in mind when teaching.

First, decide what you absolutely must have to teach a good class.

Can you teach in a room that’s too hot? Too cold? Overcrowded? So large, you shout yourself hoarse?

Can you teach with construction workers using power tools just three feet away from you? (Once when a pipe sprung a leak, I had to teach a class while emergency repairs were made, right next to me.)

Every teacher has different standards. Decide what yours are before you teach.

What works–and doesn’t–for me

If my class doesn’t start well, it won’t get better. I learned that the hard way, the last two years I taught at Artfest.

First, if you’ve never met me in real life: I’m somewhat autistic.

I didn’t know that back in 2004, but now I do. At the time, I felt like I was at fault when the event wasn’t well-organized and my classes didn’t deliver what the students and I had expected. Now I know better.

Oh, my requirements aren’t extreme.

For example, I absolutely, positively must be able to get into the classroom at least 30 minutes before the class starts, to set up last-minute supplies, and collect my thoughts.

I turn on glue guns, review my teaching notes, gear up for a fun, high-energy day, and–above all–get in focus so that I am at my best.

Then I can present myself as an upbeat, enthusiastic teacher who’s more-or-less in control, or at least can act quickly if things falter.

I’ve broken this 30-minute rule just three times. These are my personal ‘horror stories’ from a couple of events.

The first time, the event staff couldn’t find the classroom key. My students and I were locked out until five minutes before class. We were stressed, not sure if we’d get into the room at all. (That wasn’t awful, but it wasn’t my best class, either.)

The second time, the event’s shuttle bus driver arbitrarily changed her route and didn’t return for over an hour. (That’s how long I waited at my dorm, standing next to my boxes of supplies. The event was out in the boonies; there were no taxis.)

I arrived after the class was supposed to start. My students were very upset… with good reason. Things didn’t improve, as I rushed to unpack my supplies and gather my thoughts. Soon, a student at the back decided to heckle me. Utterly intimidated, I stuttered my way through the class and felt utterly demoralized by the end of it.

The third time, the event organizer “forgot” about my class. We had no classroom for most of the first hour, and not enough chairs for the first two hours. The students were angry, and – more-or-less representing the event – they blamed me.

Each time, I tried to pretend that everything was fine. That was a huge mistake.

From those experiences, I’ve learned to say, “This delay was outside my control. I don’t always teach well when I start the day this rattled. If you like, you can ask to be placed in another class that’s more of a ‘sure thing’ for you.”

Also, using my “three strikes, you’re out,” I never taught at those events again.

My advice is: Ahead of time, decide your basic make-or-break rules for a successful teaching environment. And, if things start to wobble or waver even a little, speak up right away. Your students deserve the best from your class, and from the event.

Think in “worst case” terms

I do not want to scare you from teaching. Most of my teaching experiences have been fabulous fun for me and for my students.

These very rare examples of disasters are just to give you an idea of how prepared you should be, to teach a great class.

Will it drive you crazy if your students have a five- or ten-minute walk to the nearest bathroom to wash their paintbrushes or their hands?
If your classroom has thin walls and the students next door are hammering on metal all day, will the noise give you–and your students–migraines?
What if your 20 students need to use glue guns or power tools, and there are only two working electrical outlets in your classroom?
What if the meals are awful, the rooms are cold, and a crew is working on sewage pipes just outside your room… all at the same event?
What if a student has an emotional crisis in the middle of class? (This happens regularly when working on deeply personal art.)
What if you have a ‘heckler’ in your class? What if someone criticizes you–or another student–and won’t stop?

Each of these examples is drawn from my own teaching experiences.

In most cases, I handled the situation gracefully. In a few others… well, I still wince with regret when I think about them.

Decide what’s essential, and make that clear

When you agree to teach, clearly state what you require. Get a clear agreement about that, preferably in writing.

If you encounter problems, don’t teach until (and unless) things are set right.

That is the most difficult thing for me to say. It may be the most difficult rule for you to stick to. But, you must be prepared. Always put your students first.

At least 80% of the time, you won’t encounter anything this dramatic. Usually, the “oops” moments involve something minor like a window that won’t open, or not enough paper towels for cleanup.

Most teaching opportunities are tremendous. By the end of the day, you and your students will have forgotten any minor inconveniences.

But, if your minimum, reasonable standards aren’t met, don’t compromise.

Don’t start teaching until you can give your students the great class that they’ve expected.

If you’re too inconvenienced, rattled or annoyed to be at your best, give your students the option to switch classes.

Or, speak to the event organizer immediately.

Or both.

In general, teaching at shops, shows, and events is so much fun, I’d teach for free. (Sometimes, I do!)

It’s rare that anything goes terribly awry.

Plan ahead, and be firm about protecting your students’ interests.

If you do, every class can be fabulous fun for everyone involved.

Sell your art locally

Writing in a journal One of the most successful ways that I’ve sold my art has been through local businesses, using the community art association as a liaison.

If your goal is gallery representation, local sales can build your reputation and add credibility to your resume.

And, your income from local sales can exceed what you earn with some galleries.

First, find nearby art associations and join some

Most communities have an art association of some kind. You’ll find them listed in the yellow pages of your local phone book, and sometimes online. Look in categories such as “Clubs”, “Associations”, and so on.

These groups are usually a mix of professionals and eager amateurs. At their (usually monthly) meetings, I’ve seen everything from gorgeous, $10K watercolors to crocheted dolls in unnatural colors & fibers. No two groups are the same.

Art associations sponsor regular–at least annual–gallery shows in their own meeting place or in a town hall or library meeting room. They often have at least one outdoor art show, at which you can display your art and perhaps demonstrate your techniques. Most art associations also have some juried shows and at least one or two annual shows that are open to all members, regardless of expertise.

Art association meetings include regular demonstrations (of art technique) by artists who usually sell some art to the members while they’re there. This can be a good outlet if you want to do demos; start by creating a form letter that you’ll send to every art association in the phone book. When the demo is announced, make sure that the publicity mentions that you’ll have art for sale, too. The art association takes a commission based on how much you sell, and everyone goes home happy.

Then, the art association helps you display your art locally

Many art associations have working relationships with local businesses, especially restaurants, bookstores, beauty salons, and banks… anyone with blank wall space that wants an “art show” to generate interest. (They use this to attract visitors and for press releases, publicity, etc., themselves.) Libraries are less likely to be able to offer work for sale, but it depends upon the local laws.

The best way that I’ve seen this work, is if the sales go through the art association. That is, there is a business card (for the art association) next to each piece of art, with a price noted and how to contact the art association for more info. Of course, this should be something better than voicemail; someone needs to be on hand to answer the phone. A member who works at home is good for this job. (The art association can have a single phone number, and use Call Forwarding to whomever is manning the phones that day/week.)

Art associations handle merchant accounts and credit card sales, too

The art association makes the sale, and has a merchant account at a bank to accept credit cards. The art association takes a percentage of the sales, usually about 20%. At the end of the month, the association issues a check to everyone whose art sold that month.

If you don’t have a local art association, start one. If you are in an art association that doesn’t have this kind of relationship with local businesses, bring it up at the next business meeting and get it started.

Yes, there are issues to sort out, including how the art is insured, if it’s protected from damage (especially in restaurants, smoky halls, and beauty salons) and so on. You can check with other art associations and see how they handle it; generally, I don’t fret about this too much, but some artists do. I’ve had small pieces stolen from shows, but never anything that was taken off the wall. (That said, it can happen, so never show your valuable art in a setting that makes you nervous.)

Anyway, that’s the general idea… really just the tip of the iceberg. I hope this helps!

What is ‘true art’?

Background:

If we start debating what is “true art,” we’re going to have problems in a hurry. Most of them will be semantic.

Recently, I laughed out loud when one directory-type website put all “physical arts” (ballet, etc) in the category of “sports.”

I understand their dilemma. I mean, some of the gymnastic work that I see at the Olympics (for example) are very definitely “art,” but they’re also sports. How can anyone draw a line between the two?

So, let’s not go down any path that involves saying what’s “art” or “true art,” and what isn’t. There will always be debates about the nature of crafts, and where mixed media art fits in, and so on. That’s just semantics.

In my opinion, it’s art if you say that it’s art. Period.

Along the same line… Let’s not reduce our discussions to what artistic compromises and marketing techniques are acceptable or moral or anything like that.

Most of us make compromises now & then, if not in our art then in our marketing, to secure an income.

I follow trends and statistics to see what’s selling well at eBay and elsewhere. And often, I look at them and realize, “Cool! I’ve wanted to try some art in that style. Now I have a good excuse to do that!”

I learn from the process, and the art usually sells.

Is it all true, meaningful art? I haven’t a clue. It’s creative and it’s fun. I call it art. That’s all that really matters.

Teaching at National Art Events

If you’ve been teaching at shops for awhile, national art events might be your logical next step. However, they’re not the best choice for everyone.

For the first year or two, expect to lose money teaching at art events. Event paychecks may look juicy, but when you factor in travel, supplies (that you provide), and prep & recovery time, it can equal minimum wage.

Events often require more complex classes, with far more info, more demos, plus more handouts and supplies that you provide.

To learn more about paycheck issues at events, see my article, What Art Teachers Are Paid.

You’ll need to create very different classes than what you usually teach at shops. Students won’t pay high event prices for classes they can take — for far less — at a local shop.

You’ll need to steadily create new classes, anyway. Some of your event students will go home and teach the exact same class… for far less than you’d charge. They may even use your handouts without your permission. (Almost every teacher has dealt with this at least once. Be gracious about it, but be certain they’re crediting you for the original information. After all, that’s good for your reputation.)

Some teachers continue teaching at shops. Many don’t.

Within a couple of years on the national scene, other income opportunities will open up. National events make you into a ‘name’ in this field. Your artwork might earn higher prices in galleries. You may discover licensing opportunities, book contracts, and — of course — fabulous networking… but don’t count on that your first year or two.

The tricky part can be bringing in income during those “bridge” years. Etsy is one of many options.

Teaching at national events propels your career so quickly, it can be breathtaking… or overwhelming. It’s not a smart choice for everyone, especially if you’re re-entering the work arena due to an abrupt change in circumstances.

But, if it works well for you, the personal rewards — far beyond the paychecks — are tremendous!

More Dangerous Women

For another art doll exchange (a swap), I decided to modify my earlier “dangerous women” cloth doll design.

I rarely work from a pattern anyway, so any time I decide to repeat a design, it’s not likely to turn out the same as the original.

The photo above is one of a series of six dolls, created in mid-2000. Most of them looked alike, though no two were identical.

The dolls were each about five inches tall, not including the hair. The bodies were made with preshrunk 100% cotton, the hair was “doll hair” wool, only loosely tugged to give it volume. The face was drawn on with waterproof pens, and then ironed on with Stitch Witchery.

The arms and legs were stuffed before being attached to the body. Then, I added a star charm to one hand on each doll. Finally, I sewed on sheer wings (not shown).

Each doll was machine stitched, except for the final seam where she sits down, and that was closed by hand after stuffing.

All six were sent to the swap, and are now in other people’s homes and galleries, making mischief.

The original pattern, created and scanned as a GIF, can be downloaded here. Be sure to enlarge it to scale.

Gesso – What It Is and How to Use It

Gesso can be a useful for art journaling as well as painting and mixed media art.

I use gesso often when I’m creating heavily embellished pages in my art journals.

(Usually, I use Liquitex gesso, or whatever comes from a reliable brand, isn’t too water-y, and is inexpensive. See my current recommendations at the foot of this article. They’re what’s in my studio, and – as I’m updating this article – HandyArt gesso delivers the best price-per-ounce.)

If you’re doing a lot of embellishing and layering, gesso can provide more support. It can strengthen the paper you’re working on.

However, you don’t have to use gesso on your art journaling pages.

In fact, most artists never use gesso in their journals. I only suggest it if you’re working with thick paint, heavy embellishments – like magpie journals and junk journals – or mixed media.

What is gesso?

Gesso is a primer, meaning it’s the first layer you might apply to the surface you’re working on, whether it’s paper, wood, canvas, or something else.

Gesso looks a lot like paint, and it goes between the surface you’re working on (the support) and whatever you’re using for your artwork.

Originally, gesso was white. Only white. Artists put it on surfaces such as:

Canvas
Wood
Hardboard (such as masonite, MDF, or plywood)

On wood and hardboard, gesso works a two-way barrier.

It prevents the board from soaking up the paint too much.
It also prevents any acids, oils or glues from migrating into your finished painting. (The latter could spoil the colors.)

On canvas, gesso prevents the fabric from soaking up the paint. The colors won’t bleed, and you won’t use as much paint.

That’s a good reason to use gesso on paper if you’re painting in your art journals: You’ll have more control over the color, and you’ll save money on paint. (Generally, gesso is a lot cheaper than paint is.)

Gesso makes the surface a little stiffer. It can also give the surface a little more texture (called “tooth”), so the paint sticks better.

Today, gesso comes in many colors. White is still the most popular, but black and colors are also used for art journaling and other art.

So, the gesso can be part of your finished art journaling page, too. Here’s an example:

Pages 31 - 32 from the Decluttering Journal

Gesso is useful for mixed media artwork, too. When I’m using a cigar box as the support for an art shrine, I almost always cover it with gesso, unless the design on the box is going to be part of the finished shrine.

(Also, some wooden cigar boxes look spectacular if they’re simply polished, so the wood shines around the art and embellishments you add.)

What’s the difference between gesso and regular paint?

Gesso is usually thinner and creates a slightly rough surface when you apply it.

A quick history of gesso, and some recipes

Long ago, artists made their own gesso. They mixed calcium — like chalk — in a thin base of animal glue.

Yes, it was rather smelly. It also had to be shaken or stirred regularly, because the chalk quickly settled to the bottom of the mixture.

I don’t recommend making your own gesso, but if you want to try it, here are a couple of websites with recipes:

Traditional Gesso Recipe (includes lead, fish glue, etc.)
Traditional Gesso Recipes (includes chalk, rabbit glue)

When you see religious paintings and icons painted on wooden supports, gesso is probably underneath the artwork. That gave the wood some “tooth” so the paint stuck to it (and didn’t peel off), but it also kept the paint from sinking into the grain of the wood.

By the mid-20th century, gesso began to change. In 1955, the first water-based acrylic gesso was created by Liquitex, the paint company. That gesso could be used underneath oil paint and underneath acrylic paint.

In recent years, some artists have questioned whether or not acrylic gesso should be used under oil paint.

That’s not an issue for most people working in art journals. We’re usually using acrylics and watercolors, or other water-based media.

However, if you also work with oil paints and want to buy just one gesso for both, discuss this with someone who’s current on this topic. (Or, look it up online to see what the latest theories are.)

Gesso and art journaling

As many of us began art journaling, we found new uses for acrylic gesso. For example, it’s ideal for use under collages.

Note: The acrylic/oil issue shouldn’t affect art journalers who use oil pastels and crayons over acrylic gesso.

However, since the oil in oil paints, oil pastels, and similar products can weaken the paper in your journal, it’s a good idea to treat the paper with a coat of gesso, first.

When I journal, I use white gesso most of the time.

I’ve also used black gesso as part of the finished work. Here is an example of a page with black gesso on it. It’s from my Decluttering Journal.

Black gesso art journaling - Declutter pages

I used rubberstamp letters (alphabet letters) and an opaque white stamp pad. I also added details with a white gel pen. The “tooth” (rough texture) of the black gesso can work well with opaque gel pens, such as Sakura Gelly Roll pens.

How to use gesso

Like paint, gesso can get messy.

1. Spread newspaper on the desk, table, or floor where you’re working, just in case.

2. Shake the gesso container so it’s well mixed. Whether it’s acrylic gesso or traditional gesso, it’s still likely to separate.

3 Because gesso is water-based, you can use a regular brush to paint it on. I use a sponge brush for fast coverage.

4a. If you’re art journaling, apply a thin coat of gesso to one side of the page. That’s usually enough.

4b. OR, if you’re using heavy embellishments and the page needs to be very strong, use gesso on both sides of the page. Depending on how thick the gesso is, you may need to apply more than one layer to each side of the page.

Remember that the binding of your journal is also subject to wear & tear. Sometimes, especially when it’s a spiral-bound journal, I’ll paint gesso out to the edges of the page, including around the holes where the wire is.

Also, an art journal with heavy embellishments will only hold up to a certain amount of page-turning. You may want to limit how many people handle it.

In my classes, I often pass around my journals so people can look through them. I closely watch the condition of my journals, and “retire” them from classroom use when they start to show signs of stress.

Cheap gesso has more water in it and will take longer to dry.

If you’re going to apply gesso to the back of the page, too, be sure to let the paper dry completely before painting that second side.

Otherwise, you’ll seal in moisture and actually weaken the paper.

Does price or quality matter?

No two people are likely to agree on this topic.

When I’m using white gesso — which is most of the time — I buy whatever’s cheap. (Currently, that’s Liquitex.) It works fine for my art journaling pages.

I often buy gesso in large tubs — like ice cream containers — to save money. As long as you put the lid back on securely, gesso stores well.

That’s sort of the best of both worlds: By buying in bulk, I get the best price for a higher-quality gesso.

When I want a colored gesso, especially black gesso, I spend considerably more and shop for very good brands.

In addition, I’ve tinted small amounts of cheap white gesso for special projects.

How to tint white gesso

I start with a jar or paper cup that’s partly filled with white gesso.

Then, I slowly add coloring until I achieve the color that I want.

For color, I’ve used:

Plain (unsweetened) Kool-Aid*
Dr. Ph. Martin’s concentrated water colors, added drop by drop to white gesso
Cheap watercolor paint drizzled into the gesso
Adding acrylic paints to the white gesso

*Remember: If your Kool-Aid contains a sweetener, that can attract paper-munching insects and rodents. So, be sure it’s UNsweetened, not artificially sweetened.

Getting fancy

You’ll find other kinds of gesso, each created for different kinds of art. (I don’t use them for art journaling or mixed media collages, but you may have a use for them.)

In addition to colored gessos, some companies make a “hard gesso.” It goes on thick and can be sanded to a smooth finish. It would be too heavy for use on regular journal pages, but it could be useful on a heavy journal cover or other rigid support.
Gesso powder will mix into acrylic (and other) gessos to make them heavier, thicker, textured, and so on. This isn’t easy to find, so I can’t recommend it. Not for art journaling, anyway.

Gesso – Summary

Gesso is the primer. That is, it’s the first layer in some art. It helps paint stick to any surface, including paper, cloth or board.
Gesso prevents paint from soaking into your art journaling pages.
Gesso strengthens paper so that you can apply layers of collage and heavier embellishments.

You don’t have to use gesso, ever. It’s just an extra tool for certain kinds of art journaling.

I don’t use it for all of my mixed media art journaling, but definitely for my heavier, layered pages.

BRANDS I’M USING RIGHT NOW

If you have a question, or want to share your own experiences with gesso, leave a comment below. Thanks!