Are you new to creating mixed media art? It is easy to get bogged down with all the different materials and artsy lingo. This comprehensive list will give you a simple breakdown of paints, mediums, and materials so you can get to the fun part of painting your mixed media masterpiece!
Can be used on materials other than canvas, such as wood, metal, fabrics, and ceramics.
Student Grade Paint
Colors are not as strong, but they mix easily and the paints are cheap. Shares characteristics similar to professional grade paint.
Heavy Body Acyrlic
Thicker paints that are better for heaver painting needs. Can hold the form of a brush stroke.
Soft Body Acrylic
Have lower viscosity, but same heavy pigmentation.
There are fluid acrylics for every type of artist. Generally they have a high level of pigmentation and lowest viscosity. Hence the name, "fluid acrylics".
A WORD ON LIGHT-FASTNESS
Artist quality paints are graded on a scale system of light-fastness or permanence.
ASTM I — Excellent Light-fastness
ASTM II — Very Good Light-fastness
ASTM III — Not Sufficiently Lightfast to be used in artists’ paints
Creamy, buttery, and can be easily manipulated by a brush. White when wet and clear when dry, Gel Mediums are fabulous to sculpt, embed objects in, coat things, and seal things. They are the best general-use mediums, and work very well with bold, vibrant colors.
Modge Podge Matte
It is cheap, easily attainable and safe to use with kids. Need I say more? Seriously, this stuff may be considered by many artists to be child's play, but nothing works better at incorporating tissue paper, wrapping paper and leftover Gelli prints into your artwork. Save the good stuff, like liquitex matte meduim, for diluting your high pigmented paints.
Extra rough and course and looks like granite, but with a grainy texture. Nepheline gels are great for rough sketching and mixed media, and are tough yet highly flexible.
Looks like stiff whipped cream. Easy to sculpt. Has greater density and weight than other gel mediums, but it's still semi-flexible and highly matte and absorbent.
Thick, viscous, similar to honey in texture. After being poured, Self-leveling gels will even out into a glossy, smooth pool. Great for deep color glazes.
Has a consistency similar to that of a sugar glaze. Comes in varying levels of viscosity and are excellent adhesives for delicate collages and photo albums. Makes paint flow more velvety, with less streaks.
Liquid Glazing Mediums
Water-thin and holds no visible texture. When dry, Liquid Glazing Mediums look glassy and thin to show the color beneath, similar to paper mache.
A quick dilution with 40 percent water this versatile medium and transform your already painted canvas into a sustainable surface for pastels, markers and colored pencils. A useful tool for fine finishing work in any mixed media project.
The purpose of Gesso is to seal the canvas before applying paint so that the canvas itself does not end up harming the painting. Gesso protects the film of paints while increasing the paint adhesion factor. Traditionally comes in both black and white. White gesso can easily be transformed into an interesting background with a few drops of fluid acrylics and a brayer.
TOOLS OF THE TRADE
Flat, dense collection of bristles can cover large areas evenly when applied in circular motions.
These are made with resilient synthetic fibers that curve toward the center of the brush, for more control for the painter. Perfect for blending, loading, layering, and brushwork.
Creates soft blends and smooth color changes.
There is a wide selection of palette knives for the needs of the individual artists.
These bendable knives are great for blending colors. Painting with a knife is like spreading butter on bread, and it's very different from painting with a brush.
Great for painting lines, shade from one color to another, or cover large areas with an even coat of paint.
Can be used for stenciling or creating patterns. Daubers are inexpensive and can be manipulated into different shapes.
These silicone-tipped tools are used to create controlled marks and textures. They come in many different shapes and sizes, and are great for the details.
Used for printmaking and creating slick textures. Available in a variety of different materials.
Intended for faux finishing and painting decorative motifs, graining tools provide various effects and patterns.
Dense, dramatic, and velvety, charcoal provides contrast.
Litho crayons create waxy lines that stick well to the acrylic surface, and come in varying degrees of hardness.
Very good tool for drawing on flat, matte acrylic surfaces.
Pastels & Crayons
Oily or chalky, pastels and crayons can be used to apply linear designs and visual texture.
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Ampersand Clay Board
As one of the most celebrated abstract British artists of her generation, Gillian Ayres boasts a lifetime of work that stands out as being colorful, bold, and even pleasantly chaotic. For such a successful artist, Gillian Ayres certainly had an imperfect childhood. She didn't even learn to read until she was eleven. However, while attending St. Paul's Girl School in Hammersmith, in West London, England, she developed a love for art that would give her passion for carrying her throughout her life.
At the onset of her painting career, Ayres painted mainly with thin acrylics but ended up switching to heavy oils later in life. She manipulated the oils by hand and turned them into strong, thick shapes that burst from a heavily worked canvas, ultimately achieving strong visual impact and a feeling of strength that many admire.
Ayers has quite beautiful and interesting names that she gives to her works such as "Blueberry Hill", "Stardust", and "Apt. No. 3." Interestingly, Ayres assigns names to her paintings after they are complete. She chooses names that fit the mood of the piece, but always paints from a subconscious place in her soul.
The wonderful thing about Ayres' work and abstract art, in general, is that there are so many interpretations that the viewer can take away from the art. What looks like a neon cactus to one person can be an infinite number of possibilities to another. Perhaps Ayres can remind us to have fun when interpreting our art and not to judge our work too quickly. Who knows what the final result will be? If we follow our instincts, and let go of fear, we too can paint, dream and create boldly.
The real pioneer of Abstract Art, Hilma af Klint was born in 1862, and is credited as being perhaps the first artist to utilize what is called,"automatic drawing." A process in which the artist uses the subconscious to create line and shape by allowing their hand to roam freely across a canvas without any conscious thought. Interestingly, her works were done before Kandinsky (who is usually the one credited with pioneering abstract art). Art scholars learned of Hilma Af Klint's work some 40 years after her death. Her work was done in complete ignorance to Kandinsky or any other abstract artist of the day. She was off the radar and in complete isolation from the art scene, yet her work is equivocally grandiose in stature and beautifully modern in composition. How her small 5-foot frame was capable of painting ten, large 8 X 10 paintings in just 40 days piques much curiosity. The ten controversial paintings describe childhood, youth, middle age and getting old in an array of colors, patterns, and interesting geometric shapes. These mysterious and beautiful paintings are according to her journal entries packed with sacred symbolism and hidden messages to us from a greater higher power. Strange? Intriguing? Impossible? Yes, maybe, and who really will ever know for certain. There is one thing about her work that is indisputable..... we want to know more.
For now, it seems, that both Hilma Af Klint and her work will remain a bit of an enigma. Her paintings often look like diagrams and represent complex spiritual ideas. In fact, Klint believed that her art was steered by a spirit guides, and her work must have been intensely personal because she didn't want anyone seeing it until 20 years after her death. Before you write her off as crazy, read a little more.
What makes her work even more intriguing is the fact that her art is contemporary, even to the modern viewer today. She used bright, almost pastel colors and included many symbols throughout her works that, perhaps, will never be completely understood. Her work has transcended time, and she will, most certainly, leave us guessing for many years to come.
When it comes to Klint's paintings, there is still much to be learned. For now her work begs the question, "May we as artists paint from a spiritual realm?" Kandinsky surely did and so have many others after him. Perhaps art is a form of prayer? Perhaps art comes from the soul? Even more interestingly, when we agree to do such spiritual work, will we inevitably produce hidden underlying spiritual messages for ourselves and others to absorb?
I for one couldn't seem to help trying this myself. So in my amateur attempts lately at abstract painting, I began to try to quiet my mind and pray while I was painting. Nothing spectacularly spiritual, just mindfulness and awareness. These are those quiet moments of solitude where you don't necessarily say anything to God, you simply allow yourself to be open to him. Many people will be skeptical of this and ask, "How do you know it is God you're hearing from?" Well, that's a great question. One way that you know is that the holy spirit is full of the same great goodness of God. If you are getting answers of love, peace, unity and conviction, that is more than likely the loving voice of the one who made you. Your creator loves working with you and helping in all things. Whether it is painting, parenting or working as an accountant. We just have to invite him into our spirit and still the mind. On the other hand if you are getting thoughts of condemnation, anger, bitterness, worry fear and anxiety, this most certainly is not the voice of God. For God is love.
Okay, so back to the painting. I began to do this spiritual exercise of just quieting the mind and being spiritually open. At first, I just painted lots of colors. Next, came some X's and O's. After those had dried, I started pouring some water over the acrylic paint to create drips, all normal abstract techniques, but what was cool is the symbolism I got while painting it. The X's and O's represent love, in the superficial way we all know well. The love we normally have for one another, a love that is really just infatuation, filled with hugs, kisses, feelings and conditions. When I began to pour the water over my painting is when an epiphany manifested. In the bible water represents a new spiritual life, "Jesus answered, "Very truly I tell you, no one can enter the kingdom of God unless they are born of water and the Spirit." Water represents God's true love, love that is true, renews our spirit, love that is unconditional, love that is steadfast, love that transcends time, love that is not always marked with hugs and kisses, love that is bigger and deeper and more potent than I think many of us understand. This reminder is no coincidence, for at the time I was prayerfully painting there was not a lot of love going on in my heart. In fact, I had built up walls and kept the people I wanted to feel the love from the most out. So, it is profoundly acute to receive such a love lesson when I am "feeling" anything but. This stark contrast in Godly wisdom and selfish emotion is one of the ways you can know your prayerful painting exercise has worked.
I understand that for some artists underlying spiritual meanings in their art is not relevant to their creative journey, but for me it makes the joy of creating even better. If you feel inclined to try this kind of abstract art therapy, I would love to hear from you, please share your work and stories with me. Until next time, happy creating!
My friends and family know by now that I will happily take abandoned items like these canvases in as if they are some kind of orphaned pet.
First, a squeeze of lime green, blue, white and teal acrylic paints straight from the bottle and onto the canvas. Next, comes the palette knife to blend the colors together. This technique is a pretty simple one, all you have to do is imagine you are applying icing to a cake. Viola, the background was done! Don't forget to paint the sides of your canvas because details matter.
Next step is to out line, darken and accentuate the tree branches. For this, I used an oil based paint pen in black.
As for the flowers, I reused some Gelli mono-prints that I had laying around the studio. If you are looking for a way to re-purpose any of your Gelli prints, adding them to a mixed media project is a great idea. Simply place a stencil on the back and outline your design with a sharpie marker. Next, cut out your shapes and adhere to your canvas with either modge podge or matte medium.
Yes, this is starting to look good!
Crap, a mistake, some of my branches are looking whopper jawed. Thankfully, this kind of mishap is easily remedied by using the same background color combo you started with and a palette knife. Be sure to let the paint dry completely before fixing tree branches with your paint marker.
Lots and lots of flowers here because repetition my art loving friends is very, very, very important.
The bird and part of the branch ended up being the only original elements. I simply painted the bird with transparent yellow paint and then outlined him with my handy paint pen. A whimsical chevron pattern on the birds tail finishes look.
Signature in copper vermeil pen and for the center of the flowersI used a stencil with metallic luster rub.
Two coats of Liquitex gloss varnish and that's all folks. I hope this post has inspired you to take down one of your old canvases and make it new again with your artistic expression.
“Creative powers of the learner was to be set free by their own unprejudiced, playful experimentation and discovery, instead of being treated like children in conventional teaching.”
Joseph Albers (1888 - 1976) is a German/American artist best known for his unconventional teaching style. His students considered him strict but brilliant, and it was his love of pedagogy that attracted him to the Bauhaus ideology after spending his early career as a primary school teacher. He believed that students should learn to think for themselves and he valued "seeing for himself" and "thinking for himself", which he demanded from his own students. In fact, as a teacher, his motto was "try it out before studying it." By "trying it out" first, he believed that his students would form their own opinions before being told what their opinions should be.
Albers was successful as a Bauhaus teacher because he encouraged his students to playfully experiment with art, to make mistakes, and to be set free by their own discoveries. He didn't want to treat his students like children, as the more traditional modes of education seemed to do. He was put off by the idea of shoving facts down their throats just for them to regurgitate it all on a test, and he certainly believed in hands-on discovery learning. For this, his students respected him as a man and an artist.
"homage to the square"
Artistically, Albers spent his early years working as an apprentice for a glass painter. He fell in love with painting glass, and he spent much of his career designing stained glass. His stained glass and other art are characterized by their abstract, geometric forms. His stained glass is perhaps his most important contribution to the art world. Logical in form, his stained glass art majorly contributed to the early German Concrete Art Movement.
Albers is also known for his discipline and endurance in perfecting composition. His most famous devotion to composition are the hundreds of prints titled "Homage to the Square", that differ mainly in composition and color.
"When buying from an artist, you're buying much more than another object. You are buying hundreds of hours of failures and experimentation. You are buying hundreds of hours spent in frustration and moments of pure joy, but most of all you are buying a piece of someone's heart. Art is an extension of the soul, an expression of a moment in someone's life. Most importantly, you are buying the artist more time to do something they are passionate about."
Color, line, movement, and pattern. Whats not to love about Bridget Riley? Born in 1931, she's one of the pioneers of Optical Art, that is, making art out of optical illusions. At the onset of her artistic career, Riley was known for her bold, black and white pieces, but began experimenting with color after a trip to Egypt in the 1960's, where she was inspired by the colorful hieroglyphics and couldn't help but explore color in her optical art.
However, Riley wasn't always an optical artist. It took many years for her to figure out her true style. She began drawing while attending school at a young age, but felt that she couldn't break free from the institutional expectations of art, and so didn't experiment much. However, her childhood in England was very free, and she would watch the sunsets from the cliffs of Dover, which she claimed had a lasting impact on how she visually received the world. Later in her career as an art teacher to girls ages 8-18, she would encourage her students to pay attention to what they were seeing instead of blindly copying images from the world.
Interestingly, Riley didn't begin really exploring Op Art until her thirties, before there was even such a thing as Op Art. Riley was on the vanguard of artists who delighted in "tricks of the eye" that were rich in movement. She began introducing color into her compositions slowly and cautiously, and by the 1990's, she was treating colors as their own separate entities, with their own meanings that had to be placed carefully within a piece.
Now, Bridget Riley is in her eighties, and she is still alive and well, and still working. Each of her compositions are very large, and it takes her 6 - 9 months to complete each painting, partly because of the extreme precision it takes to produce Optical Art, but also because she allows each piece to naturally evolve, bit by bit.
Bridget Riley is a great inspiration for her tenacity, work ethic and innovation. It is never too late to try something new and explore what lies with in us. Let us take Bridget Riley's example to heart and create something new, bold, fresh and invigorating!
It's true what they say: becoming a mother changes who you are. Almost instantaneously you become harder working, more compassionate, eager to help others and more patient. I can still remember the days and years before my children came into existence and I often think of my own mother who was once a young girl, and further back to her mother and her mother's mother. I sometimes, wonder what they were like as women before they ever became known as someone's "mother". Whether we think about it or not, we are all a part of a very large family tree. We are a part of who are ancestors once were and our very beings are derived from the many women who came before us.
This hand-crafted project is a beautiful way to honor those special women who helped shape us into who we are today. The leaf represents the tree of life from which we all came, and the many people who lived before us. A simple, yet stunning sterling silver leaf pendant to honor our mothers- mothers past, present and future.
This is my first attempt at ever using PMC3. If you have never heard of precious metal clay before it is a clay made from recycled precious metals and originally created by the Mitsubishi corporation in the early 90's. Since then, it has become a true gem in the craft world. From recycled precious metals, in this case silver, water and organic binders, one can create a pure silver pendant at home without an expensive kiln.
My excitement over precious metal clay was also met with a fair amount of skepticism. You can't help to doubt all the great reviews so it begs the question, "Is PMC3 really as easy to work with as everyone says it is?" As it turns out, the answer is enthusiastic Yes! Regardless, I still recommend watching every you tube video tutorial on precious metal clay you can find on the internet, as I did. Everyone claims this stuff is a "forgiving medium", turns out they are right.
You will need a small butane gas torch (pictured below), preferably with a push button ignite. This is the one I used.
1. Roll your precious metal clay out using a PVC pipe or acrylic roller. I rubbed a little Burt's Bees wax on mine to prevent sticking. They sell this special release spray online, never tried it, but the Burts seemed to get the job done.
2. Let the pendant dry completely, at least 4 hours. I let mine dry overnight.
3. Do all your finishing work before firing. Apply slip to rid the clay pendant of any unsightly gaps. Then let dry completely, before sanding. You may need to repeat this process several times, as I did, to achieve the desired results.
4. Place your dried pendant onto your firing brick. (Please note that the heat may travel through your firing brick, so you will need to place your firing brick on an old ceramic tile or piece of wood when firing.) When firing, the Precious Metal Clay should turn a red color but it should not get so hot as to appear liquid in texture. Slight smoking and weird smells are normal! Firing takes about 30 seconds to a minute, and voila! Your pendant will look white when it's finished.
5. Once firing is complete, let cool naturally or quench in water.
5. Polish with a metal wire brush! You have your finished beautiful pendant!
Here is a picture of the skeletal leaf stamps I got from www.metalclays.com. Aren't they pretty? You can, also, use small leaves and pressed flowers from the garden too. Just put a little wax on it first, in order to prevent any sticking.
So here is my pendant before drying. I rolled the clay out on a non-stick mat to 6 cards thick, rolled by leaf stamp over and created a bail with clay rolled over a cut straw. I cut the excess clay away using an small knife. At this point my pendant looks pretty sloppy, supposedly after the clay dries out (overnight) I will be able to file and sand the pendant down and smooth out all the edges before firing. Feeling kinda of nervous here, but it's way too late to turn back now. Also, I am realizing that the 25g of PMC clay I purchased is in no way going to make all the pendants I wanted. I may get three good size pendants out of this bag, as opposed to the 8 I was hoping for. Annoying. In the end, I ended up using 75g of PMC3 to make all 8 leaf pendants.
While doing your finishing work, make sure there are no gaps in the clay, this can easily be fixed with your clay slip. Also, when sanding be sure to save all of your clay dust from the sanding process. It can be used again and again in your finishing step by just adding a little water.
It is important when firing your piece to use a steady motion over the clay and dim the lights a little.. At first the clay will smoke and temporarily ignite, then the flame will change to a bright orange, you want your piece pf jewelry to glow a very light orange color. Once this happens, keep moving the torch across your piece on a steady motion for two minutes. You can quench the piece in water, using metal tweezers, or simply let is cool on its own. Here is a video tutorial. Really, nothing I do ever turns out the way I plan, yet I love to plan anyway. Total insanity, I know. Despite my nervousness for the results, however, I couldn't have asked for a nicer pendants to give to my favorite mothers on this mother's day. If you haven't experimented with Precious metal clay before. I would highly recommend it. They really are worthy of all the hype. Happy Creating!
Stamped tags and jewelry bags for packaging and presentation.
Happy Mother's day!
Another thrift store find... old and in rough shape, this retro coffee table was a steal. Trips to the local tag sales are always random, unplanned adventures - I never know what I'm looking for. With the simple geometric shapes, solid wood frame, and clean lines this coffee table was one of those special finds. You probably can't see it in the picture, but the top of this table has a really cool grainy swirl effect and I was hoping to retain the table in a natural wood, but ended up doing something totally different. You know what they say, "The best plans..."
This furniture makeover story starts like the rest, with sanding or stripping gel. I was able to get the leather out of the middle inlay and added extra stripping gel to the top to remove residue. I then gave the top another quicksand with my orbital sander and prepped the wood for laying the stained glass.
I have always wanted to work with stained glass. Something about it is so fluid, vibrant and yet mysteriously coy. However, I found the stained glass sheets to be a rather cumbersome medium. After many small cuts and frustrating breaks, I just kept practicing the cutting process and playing with composition. After several weeks of trying I was able to cut some basic geometric shapes and then started adding some circles, with a circle cutter.
Kasia's packing tape method to secure my design before gluing it to the wood permanently with Weld Bond.
Next, I mixed some dark teal acrylic paint with my white non- sanded grout to get the green grout color. Then, wiped away the grout from the glass with a damp sponge and let the piece dry overnight. Next, I painted some gold onto the grout with acrylic paint and wiped that from the glass, too.
As for the stain, I've learned from past projects that when you use wood filler, it really doesn't stain well in light colors. Frankly, I don't think it stains well period, but the darker ebony color at least hides the imperfections in the finish better. I also used gold leafing on the circle shape covered with more gold old Rub n Buff. I think I may need to invest in a tooth paste sized quantity of this stuff. The more I use it the more I like it.
Ah, resin mistakes! This step ended up being quite a challenge for me, as I thought it would be best to protect the wooden top with painter's tape, which turned into a nightmare! By waiting too long to remove the tape, it became embedded into the resin and impossible to remove. I sanded the entire piece down while trying to remove the painter's tape, which caused some of the edges to crack! At this point, I'm about to give up. It's freezing outside, I'm about to have a baby in a month, and I'm pissed at myself and want to be done. I confessed the mistake to my husband, and apologized for the fact that he was going to have to help me haul this enormous, costly carcass of a coffee table to the dump sometime in the spring. Seriously, what is wrong with me, that I am refinishing furniture 8 months pregnant??? The table sat all winter, baby came, baby grew, spring arrived, and now I am ready to regard this table with a fresh pair of eyes and a renewed spirit. Maybe it can be fixed, after all. All I have to do is find a way to re-pour another resin layer and fill in the cracks/air pockets left from the table sitting in the freezing garage all winter. sigh.
I apologize, that I do not have any pictures of the resin process to share, eventually I will make a video to explain the process in more detail. I ended up cutting 2 X 10 inch strips of aluminum foil and placing it on clear packing tape to create the barrier I needed for the resin. After a couple hours I removed all the tape and let the resin fully cure overnight. Two coats of fast-drying clear satin polyurethane on the wooden frame and thank you Jesus (genuinely) my beautiful circle coffee table is finally finished! I'm glad now not to have given up on this one, it may have took much longer than expected, but the final outcome was totally worth it.
The Bauhaus School was founded in 1919 by Walter Groupis. The name literally means ‘building house’ in German. Bauhaus changed the way we teach fine art, and in fact, many art schools today owe their preliminary years to the curriculum created at the Bauhaus. The free, bohemian atmosphere blurred the lines between art and technology, a movement that in its time was considered outrageous by many, has led to the modernist furniture movement that with which we are familiar today. The most basic premise of the Bauhaus curriculum was form over function. Walter Groupis solicited some of the best artistic minds of the day including Herbert Bayer, Laszlo Moholy-Nagy, Joseph Albers, Paul Klee and Wassily Kandinsky. These masters taught everything from color theory, metal work, tapestry and the fundamentals of design. Kandinsky believed that the artist and craftsman should be one in the same; that one should rid their designs of unnecessary decoration and focus on minimalism, form, and ergonomics. By considering the utility of objects and reducing them to their most simple form, one could also mass produce these designs cost effectively and efficiently.
Today, Ikea is probably the most famous example of Bauhaus principles, but on a mass produced scale. Of course, being such a huge company that Ikea is, they lack the handmade artisan quality of Bauhaus. However, production was indeed a staple of the Bauhaus curriculum. Students regularly worked with machines so they could learn to produce their designs. Production and craftsmanship was an essential part of Bauhaus training so that students could learn to incorporate technology in their creative design process.
Bauhaus workshops were the beginning of modern industrial design, accomplished through the industrialization of crafts. Students were expected to be well rounded artists and to take personal responsibility for their own artistic growth. Bauhaus curriculum spanned from everything between typography and photography.
Although the Bauhaus movement was indispensable to modern industrial design and influenced a wide range of art schools world wide, there were some natural weaknesses in the Bauhaus tradition. Firstly, the Bauhaus movement was overly influenced by Fascist expectations of perfection. Student work was discouraged if their art did not fit the current "Bauhaus style" and in this way, Bauhaus could have squashed the more inventive endeavors of some students.
The Bauhaus syllabus was shaped like a bulls eye, with the zenith of the Bauhaus ideology in the center. The highest aspiration for Bauhaus students was to design buildings. Classes focused on interior design and furnishings, and the design relationship between objects in a building. The innovative curriculum style of the Bauhaus also focused heavily on various materials, and they had classes for wood, glass, textiles, metal, stone, clay, and color theory. Primarily though, students were taught the study of construction, representation, and space, and the study of nature and of equipment and tools. The Bauhaus ideology maintained that if students had a full, well rounded understanding of how to design using a wide array of materials, then they would end up being some of the best building designers in the world.
The Bauhaus Syllabus
Color theory was also part of the first year foundation. Below are examples of color theory exercises. As you can see, by just changing something as simple as color, you change the entire composition of the piece. Thus changing how the work is interpreted by the viewer.
The Bauhaus sought out to create a Utopian artistic community, unfortunately their bohemian dream was cut short by the Nazis. Their concepts, however short lived, go on today and will continue to evolve into a new era. The Bauhaus proved that when we teach a student basic color theory, the principles/elements of design and give them the freedom to explore their own creativity.... well great art is sure to follow. If this premise is executed correctly with great great tenacity then artists and designers should be able to design anything from a dress, to a chair, to a car. The fundamentals of design are essentially the same.
Example of a tapestry and other household items designed and created at the Bauhaus