Art to Self | The Craftsmanship of Self

Art to Self approaches creativity as a cultivated relationship.

Influenced in part by Pierre Bourdieu’s concept of habitus, the atelier explores how environments, repetition, perception, rhythm, aesthetics, and lived experiences become written into the body over time.

The way we create is shaped by the way we observe, move, attend, respond, and relate to the world around us.

Creativity here is approached not as talent, but as an evolving relationship to perception, process, material, and self.

Surfaces

  • Masonite boards

  • Mixed media paper / watercolor paper

  • Canvas (future classes)

Preparation

  • Sandpaper (120/220)

  • Gesso

  • Painter’s tape

  • Water containers

  • Paper towels / shop towels

Painting

  • Acrylic paint

  • Matte medium

  • Gel medium

  • Palette knives

  • Brushes

  • Mixing palettes

Studio Materials

  • Mason jars or equivalent containers

  • Lentils, rice, or weighted fill material for brush storage

  • Water containers

  • Paper towels / shop towels

  • Spray bottles

  • Rags / cleanup cloths

Brushes

  • Flat brushes

  • Round brushes

  • Detail brushes

  • Large gestural brushes

Material Sources

  • Dick Blick/ Jerry’s Art — paint, brushes, gesso, palette knives, surfaces

  • Lowe’s / Home Depot — masonite boards, sandpaper, utility materials

  • Amazon — jars, storage, supplemental tools, organizational materials

  • Michaels / Joann — basic supplies and sketch materials

  • Local thrift / salvage / found materials — texture, experimentation, unconventional surfaces

Studio Practice

A painting station should support both movement and attention.

Consider separating:

  • clean areas

  • wet areas

  • tools

  • Easel or Table Height

  • drawing space

  • paint mixing space

  • drying surfaces

Artists often develop personal rhythms and environments that support the way they think, move, and create.

Your station can become an extension of your process: organized, minimal, sensory, layered, quiet, energetic

Part of creative practice is learning what allows you to remain both responsive and immersed in the work.

Pair that with the ritual of HOW you setup to start painting allows you to tap into your creativity.

Preparation

Prepare Surface

Paper surface: tape watercolor or mixed media paper securely to masonite board on all four sides

Lightly sand using 120–160 grit sandpaper in circular motions

Slightly soften edges and corners to reduce brush wear

Clean Surface
Remove all dust and debris before applying gesso. A dry cloth, soft brush, or slightly damp paper towel may be used.

Apply Gesso
Using a larger brush, apply thin coats of gesso in cross-directional or X-pattern strokes to create an even but responsive surface.

Allow to Dry
Allow surface to dry completely between coats. (A hairdryer may be used.)

Sand Surface
Using 220 grit sandpaper, lightly sand the surface depending on the desired balance of smoothness, tooth, absorbency, and paint response.

Repeat Process
Repeat gesso and sanding process approximately 2–3 times. Multiple thin coats generally create a stronger and more versatile painting surface than one heavy coat.  

Final Surface
The final prepared surface will influence:

  • gesture

  • drag

  • absorbency

  • layering

  • brush response

  • texture

  • detail

    Field Notes

  • Sanding creates “tooth” for adhesion

  • Dust removal matters more than people think

  • Multiple thin coats are preferred over one thick coat

  • The desired smoothness changes paint response

  • Hardboard/masonite is absorbent, so multiple coats matter

  • Edges should be lightly sanded so they don’t damage brushes  

Next

Class 2 | Foundations