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There Is Always Something Happening At The Mendocino Art Center

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within a resist line… this is<br />

just what I was looking for.”<br />

A traditional watercolor<br />

artist might say: “This is<br />

easier than working on paper. I can work back into my<br />

painting without rubbing up the paper.” “It is really<br />

hard to mix mud.” “<strong>The</strong> dyes are transparent so the<br />

colors are clean and easy to mix.” “<strong>The</strong> quality of the<br />

dye color on white silk is amazing. <strong>The</strong> color is more<br />

intense and brighter.” “Because I am painting on a fabric<br />

there are many more applications for my painting. I<br />

can quilt and embellish it. I can wear it. I can sculpt it.”<br />

On the other hand, watercolor artists lament that the<br />

process of DyeColour painting on silk includes additional<br />

steps and special<br />

presentation. <strong>The</strong> silk<br />

must be stretched and<br />

treated before painting.<br />

Once the painting is<br />

finished the dyes must<br />

be steam set and the<br />

treatment removed. For<br />

longevity, paintings for<br />

display need to be protected<br />

from direct sunlight<br />

by either framing<br />

them behind Den glass<br />

or Plexiglas with UV<br />

protection or mounted<br />

on a canvas using acrylic<br />

varnish containing UV<br />

protection. For me, the<br />

beautiful color, array of<br />

techniques available for<br />

my artistic expression,<br />

Iris by Nancy Collins<br />

Landscape by Erin Dertner<br />

the joy of painting on silk<br />

and the results are worth the<br />

additional steps in process<br />

and presentation.<br />

Little did I know in 1990 that my interest in exploring<br />

DyeColour painting on silk would lead to writing<br />

my fourth book and a new dilemma. Since there are not<br />

many artists working in this medium there could be a<br />

potential problem in finding inspiring artwork to feature<br />

in my book. One of my solutions to this dilemma is to<br />

teach professional watercolor artists in my community<br />

the technique in exchange for an image of their painting<br />

for my book. This exchange has been a door that<br />

has opened to new friendships, professional acquaintances,<br />

and a wealth of<br />

knowledge as I exchange<br />

ideas, information and<br />

watch the artists develop<br />

their paintings in a new<br />

medium.<br />

Since my fine arts<br />

background consists of<br />

only a little experience<br />

in watercolor painting, I<br />

started exploring watercolor<br />

techniques by joining<br />

Nancy Collins’ open<br />

studio. Her group paints<br />

together on Thursdays<br />

at the <strong>Mendocino</strong> <strong>Art</strong><br />

<strong>Center</strong>. I also participated<br />

in a watercolor<br />

workshop with Nancy<br />

at MAC. Later, Nancy<br />

and I collaborated on<br />

31

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