The illustrators from the summer 2015 Gallery 6 exhibition "Of Beauties and Beasts" answered some of our questions about their style of illustrating, from where they get their inspiration and more! The exhibit is on view in the Children's Museum of New Hampshire through Sunday, September 6.
Q. Your beasts from Ten Little Beasties are such great combinations of fangs and fur. Did the process of collage allow for some fun experimenting when creating these creatures?
A. Collage is a very forgiving art form and allows for lots of experimentation in any genre, but beasts are particularly fun! There are no limits to fangs, scales and horns!
Q. In what way have your own favorite childhood books influenced you art today?
A. One of my favorite books from my childhood was a 1932 edition of Robert Lewis Stevenson's A Child's Garden of Verses. I found it in a second hand bookstore when I was about ten years old. Second hand bookstores were favorite places for my family to visit. I was first attracted to the book by the wonderful watercolors by Juanita C. Bennett. She was not as well-known as Jessie Wilcox Smith, but I think her work rivaled that well-know artist.
Q. Your illustrations are done in “digital media” but the results look very traditional. What inspired your style of illustration?
A. I'd like to think my illustration style is still evolving! My earliest influences were Marvel comics and MAD magazine. When I started working professionally, I worked as a freelance commercial illustrator; that required me to be a chameleon, adapting my style to many different clients' needs.
When I made the transition to illustrating for children, I concentrated on traditional media like watercolor, acrylics and color pencil. I started working digitally out of necessity. Many of the projects I was working on required speed and flexibility – a digital illustration is easier to edit than an acrylic painting. My earliest digital work looked "computery," but over time I've learned to work in a manner that looks more traditional. I prefer a more traditional look because it allows me to bring in the texture, layers of color, and lively line that I developed during years of working in traditional media. But doing the work digitally allows me to work more quickly and allows for easier editing.
For most pieces, my process includes both digital and traditional techniques. For example, I might do a pencil sketch, scan it, tweak it on the computer, print it out, add shading and texture to the printout using an ink wash, scan it again, and then add color and additional texture on the computer.
Q. Your art features some truly terrifying “Beasts.” Where do you get inspiration for these monsters?
A: Ever since I was a child, I've had a passion for illustration and storytelling, and love drawing monsters and robots! I am inspired by those countless trips to the library as a child, such books by Roald Dahl, Maurice Sendak, Chris Van Allsburg, Lewis Carroll, comics such as Calvin & Hobbes, Peanuts, Disney Adventures, and from Jim Henson movies and shows like Star Trek, Invader Zim, Futurama, Dr Who, Farscape and Stargate.
Q. Your two styles of illustrating, pen and ink and acrylics, are very different from each other. Do you find that one lends itself better to portraying “beauty” or “beasts”?
A. Nearly ALL of my books were done in pen and ink, and watercolor. A few are PENCIL and watercolor. Every few years, I feel the urge to "paint," to stand at an easel and apply gobs of paint to a canvas or board. Often, this desire to paint, coincides with a book illustration project that lends itself nicely to the medium. Edward and The Pirates, for example or Farm Boy's Year. When this "convergence" happens I get out my box of acrylics and I prepare some boards with a mix of white gesso, and Burnt Umber paint. I don't like to paint on a WHITE surface. It is much too stark for me. I prefer to paint on a mid-range tone, that way I can make SOME things darker and then bring the "lights" forward. When all is ready, I begin.
Unfortunately, a three or four year gap between "painting" projects, leaves me rusty, and unsure so it takes a while to get up to speed. Sometimes, by the time the book is finished, I feel that I'm just beginning to get the hang of it! But deadlines must be met! Of the nearly 200 books that I have illustrated, fewer than ten were done with "paint."
Q. Most of your illustrations in the exhibit seem to focus on the “beauty” around us such as family, tradition, friends and even the underwater scene with the sinister looking shark is beautiful! Are there unexpected challenges when it comes to creating scenes of beauty?
A. Thank you for seeing my art in such perspective. Actually my goal of making art for children is to build connections of love, respect, curiosity and understanding between different cultures, and in large, between each individual person - us. I admit, I appreciate all the beauty around us, and perhaps that's why I naturally express how I see them in my paintings, but that is not the reason I make art. For example, the book Swimming with Sharks came to me when I didn’t understand much about sharks. After I read the manuscript, I upgraded my understanding of the universe, and how much we rely on the balance and health of the earth. I turned to passion to express my new ideal. Because I was afraid of sharks as I grew up, then I turned to respect the shark as an equal member of our living environment as a beautiful creature. When I worked on the illustrations for this project, I related these mixed feelings as I tried to communicate with my audience. If I just to create scenes of beauty, I may not have problems. But the trick is how to use beauty to educate my audience with messages so that they will accept, and that is not an easy task.
Q. For people who have never tried to illustrate a children’s book, it might seem like a simple process. But your work goes through many edits and alterations before being finalized. Do you ever find that the process is tiring or is it all a challenge you’ve come to embrace?
A. I think illustrating a picture book is a sort of marathon. It can be a long, difficult process drawing 32 pages, but the format offers an amazing opportunity to tell a visual story. I start all my books knowing that the first round of sketches will probably change dramatically by the time I start the final color artwork. I really enjoy the process of reworking and refining the imagery. Most of my books go through at least 5 rounds of sketches, some initiated by me, some initiated by the editor and art director. My experience with publishers has varied dramatically from book to book. I've had some publishers that gave me almost no feedback beyond "This looks great!", even when I knew my drawings were still far from adequate. In those cases, I've continued to work on improving the sketches on my own, until I was also happy with the results. My favorite way to work, though, is with editors and art directors who can help me hone the imagery, and who offer up creative and clever ways to improve my sketches and make the book stronger. Occasionally I don't agree with their comments (which can be frustrating) but after a day or two of stewing I can usually begin to see where they're coming from and use their ideas as a spring board to improve the illustrations. Even with criticism I think is way off base can be helpful, because it forces me to define which direction the visual story is going, and defend my choices. If I can't defend them, then the pictures really do need to be reworked! So yes, sometimes the editing process can be tiring, but over the years it's something I've come to embrace. If it leads to a better book, it's worth all the effort!
Q. You have such a fun variety of creatures in your illustrations from The Uncrossable Canyon books. I imagine your sketchbook as being filled with drawing experiments. Is the planning/sketching phase the most fun for you or do you prefer working on the final illustration?
A. The planning and sketching phase are really fun to me. For The Uncrossable Canyon series, the author had many fantastic characters written into the story who were fun to design. There were also many other characters that I was able to create myself. There is a lot of brainstorming and experimenting in the process of coming up with characters. For crowd scenes I filled them with some of my favorite animals, including my dog, my favorite monsters and dinosaurs. I even looked at sketchbooks from when I was young and redesigned some of the characters I had created years ago. I have to focus a lot during this phase as I am constantly drawing and revising the characters and also the layout of the final illustration. It’s once I have the drawing down on the final paper that I can start to relax a bit more. When I start to paint, my mind is a little more free and I can listen to music, movies or podcast. So with all this said I would say have no preference as each part of the process is unique and challenging in its own way.
A Public Art Collaboration
Have you been by the Children’s Museum of New Hampshire recently? There seems to be a group of characters climbing . . . sitting . . . jumping . . . flying? Are they climbing up . . . sideways . . . down? Are they friendly or not so nice? Where did they come from and what are they doing on the front of CMNH?
Ascent or Descent is a collaborative public art project designed by the Children’s Museum of New Hampshire with six Seacoast area artists and craftspeople. This project is designed to make you curious and wonder what it is, exactly, that's happening with these figures upon our facade and what the different stories may be behind each one. We purposefully kept our description of a 'humanoid sculpture' request very broad when potential contributors were contacted. We wanted to show a diverse group of 'people' created in a variety of styles using a multitude of materials.
David Masse is a local blacksmith living on the southeastern coast of Maine who used this opportunity to design and construct something different than he would typically.
Masse decided to create a superhero and shaped it by using forged steel. He then added a fabric cape that blows in the wind. What do you think this superhero's codename is? What are his powers and how did he get them? What if he (or she!) isn't a hero . . . but a villain?!
You can check out more of David Masse's work on his website.
Rick Burns, a sculptor working based in Berwick, ME, describes his work as "creating Industrial Symbolic Abstractions using metal, wood, clay and mixed media".
If you look closely at his sculpture, you can discover some hidden objects! Do you see the wrenches that make up the arms between the elbow and the wrist?
What about the gears inside the chest? Do the gears help this character move? Does he have to be wound up like a toy? And, of course, you can't possibly miss the incredibly cool medieval helmet with pieces of chain mail. This "humanoid sculpture" is ready for anything!
You can find more creative works of art from Rick Burns at his website.
Adam Pearson is a New Hampshire based sculptor and craftsman. His child-sized figure is jumping . . . or is he flying . . . off the roof of the Children's Museum! Is this the first time he's opened up his wings and flown? Is he looking for food . . . or is he playing a game? Is he headed towards the park . . . or higher into the trees?
This sculpture, the highest piece in the installation, was created by Pearson cutting, bending and welding the metal and steel of the green body and the large red tail and swooping wingspan.
More of Adam Pearson's work can be found on his website.
Chris Wright is a local artist and Director at the Port City Makerspace. For Ascent or Descent, Wright designed and created a piece that is fashioned almost entirely from aluminum. This includes the frame, bones, ribs, head, and extremities!
Wright fabricated every piece of the sculpture, including all the individual vertebrae in the articulated spine.
There was a time not too long ago that Nate Walker's Giant Blue Crab sculpture was one of the only pieces of public art in the city of Dover. Now, Wright's piece joins five other pieces of public art looking down at art in several places in Henry Law Park!
Like Chris Wright, Jeff Gunn is also a Director at the Port City Makerspace and a local craftsman. Gunn began with aluminum to create the general form of the body for this robot . . . or is it astronaut . . . or is it robot astronaut?
He then heated and bent PVC boards to create the white outer shell around the aluminum. To design and produce the hands and other smaller parts for this piece, Gunn used some newer technology: a 3D printer!
One of the coolest features of this piece is one that can't be seen from the ground - but its effect can! On the top of right shoulder, Gunn installed a solar panel. The panel is connected to the "eye" bulb of the robot figure. So after a long day of bright sunshine, a cyclopean beam of light emerges as dusk falls. Is he guarding the museum . . . or is he guarding the park? Is he taking a picture with his eye . . . or shooting lasers?
Kali Ann Rocheleau is an artist who enjoys exploring many different mediums, including charcoal, watercolor, sculpture, and cartooning. She lives in Portsmouth with her fiancée and loves to create art whenever she can.
Rocheleau chose to make sculpture with a more whimsical, pencil-sketch like quality. She created this sculpture using bent and twisted pieces wire. One of the coolest part's of this central piece of the installation is that depending on where you're viewing it from, it seems to change shape. From one angle it appears to be a woman, but from another - a man. From the outside you can see its hands and fingers in great detail, while the feet and toes are better viewed from inside. This piece also blends in with the building almost perfectly. Is it because the figure has the ability to turn invisible? Is she made up of water . . . or is it air?
More of Kali Ann Rocheleau's art can be found on her Facebook page.
The amazing . . . or is it magical . . . or is it scientific . . . or is it fantastical figures that make up Ascent or Descent will be visiting the museum and Henry Law Park from June to the end of October 2015. For those interested in previous public art projects by the Children's Museum of New Hampshire, check out our look at Bryan Rutland's abstract art piece that adorned our building through this last winter and spring or at the journey of how artist Nate Walker and the Dover Middle School Art Club designed, created and installed the Octopus Bike Rack in front of CMNH.
A Strange Communication Arrived This Morning . . .
When CMNH Staff arrived to work this morning things were definitely . . . different. The exterior facade of our building and our roof had received . . . visitors . . . in the night.
Who are they? Where do they come from? What do they want?
All that was left for us was this video . . .
Throughout 2014, the Dover Middle School Art Club collaborated with CMNH Artist-in-Residence Nathan Walker to create two Bike Racks for Henry Law Park in downtown Dover, NH. Made possible by the generous sponsorship of Kennebunk Savings, the bike rack design & completion process has been one of the most fulfilling and exciting projects that Children’s Museum has been involved in since moving to Dover in 2008.
At the beginning of the year, the Art Club – led by Dover Middle School Art teachers Marie Robicheau & Jo-Ann Gardella, met with Walker in his workshop in the lower level of CMNH. Before starting down the path of artistic collaboration, Walker wanted to show the students how he approached design. The students were able to see a large spectrum of Walker’s work in various stages of completion. Many of the sculptures viewed that day had one of Walker’s hallmarks: repurposed materials. From the Volkswagen Beetle hood that forms the back of the Giant Blue Crab in the front of CMNH to the various spiders, jellyfish and insects comprised of gears, hubcaps and Christmas Tree stands, the Art Club saw that their imagination was truly the limit in creating a bicycle rack for families visiting Henry Law Park. Walker also reinforced that the design process, where the eraser can sometimes be used just as much as the pencil, was equally as important as the building process.
The Art Club continued to meet under the guidance of Robicheau & Gardella while the students formed groups that would meet to discuss their ideas and draw up plans for their respective group’s vision for a bike rack. In addition to their design on paper, the groups were also tasked by Walker to create 3-D prototypes and models to better show how their bike rack design would work.
In April, Children’s Museum 0f New Hampshire President Jane Bard, Brendan Markey of Kennebunk Savings, and Walker met with Robicheau, Gardella and the assembled Dover Middle School Art Club as they prepared to pitch their completed ideas to the group.
Though the initial plan was to select one of the team’s ideas to make a single bike rack, Walker liked all of the ideas so much, that the choice was made that two racks would be created with each incorporating pieces of each group’s design ideas.
Three of the teams ideas would be incorporated into becoming the Steampunk Octopus Bike Rack, while two other teams would see their designs overlap to become the State of New Hampshire Bike Rack. After the Art Club members decided on which NH landmarks to include on the state themed rack, CMNH volunteer Barbara Albert got to work painting the finer details. Meanwhile, Nate began work on the foraging, welding, and color experimentation for the large steampunk cephalopod.
In October, the Art Club returned to the Museum with their original prototypes to see the final product of their combined visions. Dover Mayor Karen Weston joined Bard, Walker, the Art Club and their family and friends for the grand unveiling of the first bike rack, Steampunk Octopus, in upper Henry Law Park near the entrance of the museum.
The culmination of almost a year of work and cooperation between Kennebunk Savings Bank, the Dover Middle School Art Club, the Children's Museum of New Hampshire & Artist-In-Residence Nate Walker, the new Steampunk Octopus Bike Rack was unveiled this afternoon in Henry Law Park in front of CMNH! Pictured here with Nate and the Art Club members are CMNH President Jane Bard & Mayor of Dover Karen Weston. #CMNH #BikeRackProject #KennebunkSavingsBank #DoverMiddleSchool #DoverMiddleSchoolArtClub #ArtClub #NateWalker #Steampunk #Octopus #SteampunkOctopus #SeacoastNH #DoverNH #NewHampshire
A video posted by Children's Museum of NH (@childrensmuseumofnh) on Oct 2, 2014 at 2:15pm PDT
January in New Hampshire isn’t the best weather for families to ride their bikes, but we look forward to a few months from now when families visiting Henry Law Park will have two highly creative options for storing their bicycle while they visit the park, museum, stage, pool, river walk, picnic areas and playground.
We thank the incredibly imaginative and skilled members of the Dover Middle School Art Club, their teachers and mentors Marie Robicheau & Jo-Ann Gardella, the generous support of Kennebunk Savings – without which, this project would not have been possible – and, of course, Nate Walker, who took the inventive visions of the Club and made them a reality.B-r-r-r-r-r-r! See you all – and your bikes – in a few more months!
Bryan Rutland, a local Dover artist, has created a new piece being displayed on the facade of the Children’s Museum of New Hampshire. Perspection, part of Driven to Abstraction - the current Gallery 6 installation – was originally one piece of abstract art that Rutland split into two distinctive pieces. As CMNH’s Director of Exhibits, I contacted him in November about creating a vibrant piece of abstract art that would bring color to Henry Law Park for those dark and dreary winter months.
“The way that I like to approach my painting is to have no preconception or final image in my mind,” Rutland shares.
“I want to create intuitively and I feel in working this way I can be true to myself and not over think the process. I like to take a more natural approach,” he admits. “I start the creation process with a color palette in mind and just start throwing colors around and whatever ‘feels right’ at the time. I like to just let the painting work itself out and lead me in the direction it wants to go in.”
Bryan joins over 15 other artists in showing their version of abstract art. For many museum families and visitors, this is their first exposure to any kind of abstract art. As in any form of art, each artist approaches their process differently. Rutland looks to his natural surroundings for inspiration.
“The abstract process for me is more of a therapeutic and physical exercise. I allow things to just happen the way they do in nature,” he says.
“Just like a stream will meander and create its own path over time I allow my paintings to do the same. I tend to be more of an instrument in the creation of the work as opposed to the overall creator. I really feel the painting is already there I just need to let go and let it be what it was meant to be. I think we need to create things that are true and honest to ourselves, with all of our strengths and weaknesses.”
Born in Paterson, NJ in 1974, Rutland has always believed in doing what you love. He moved around a lot in his early years and he often looked towards his creative mind to keep him company. He tried to absorb any and all information he could sink his teeth, and by extension his creativity, into. He is a true admirer of art in all its forms and has worked in many different mediums.
He has designed for fashion labels like L.A. based Eisbar and Kangol NYC. He has also worked with L.A. bands The Nikhil Kohrula Band, The Distants and Apes of the New Millennium, as well as NYC based rap artist Little Vic and Orena Records. Rutland’s paintings have been exhibited in galleries and venues in Los Angeles, and he has had mural work shown on walls and ceilings in New York City. Bryan currently operates Rutland Studios in downtown Dover creating artwork in all different mediums.
If you don’t have a chance to view Rutland’s Perspection by day, we’ve set up a colored lighting system to make it viewable in the evening as well.
Driven to Abstraction is currently up and running through the end of February. Driven to Abstraction has given the museum a chance to show some non-representational work that children and adults will find really interesting. Abstract art challenges people to look even deeper at the artwork to try and solve or decode the puzzles in the artwork.
All CMNH Gallery 6 shows are free to view for Adults. Simply request a Gallery 6 Visitor Pass at the Front Desk of the museum.
Perspection is merely the latest piece of public art commissioned by CMNH. Last winter, we installed Erebos on the front of our building, which was a collaborative effort between myself and our Gallery 6 Coordinator Tess Feltes.
During the day, Erebos – named for the Greek God of Darkness and Shadow – would create shadows on the building as the sun moved across the sky, and at night Erebos was lit up by color changing LED lights to create an ever-changing display of light and shadows.
In the spring, we installed a recycled hanging garden created by cutting, gluing and painting plastic bottles.
This was our most time consuming project because each flower or vine was individually cut and painted. Amy Tilton and Eryn True, two of our 2014 exhibit interns, were invaluable in helping us to complete this project.Hi Mom, Susan Perrine
During the summer, our Gallery 6 Enchanting Gardens exhibit extended out into Henry Law Park and included a handful of sculptures sprinkled throughout the park.
There were nests, figurative sculptures, a tree house, a metal Pterosaur and individual pieces made of both plants and clothing.Hammer Headed Pterosaurus, Jill NooneyHow Do You Spell Your Name? – Sarah Haskell
We hope you’ll have a chance to see our latest public art, Bryan Rutland’s Perspection, in person before visiting the rest of Gallery 6 to fully appreciate all the incredible and varied pieces of abstract art in our Driven to Abstraction installation.
Happy 4th of July from the Children’s Museum of New Hampshire!
We hope you have a fun and safe holiday with friends and family.
Below, you will find a selection of patriotic drawings made by some of our museum visitors.
[Reminder: CMNH is closed on the 4th in observance of the holiday but will be open from 10-5 on Saturday the 5th and 12-5 on Sunday the 6th. The fireworks in Dover, NH have been rescheduled to Sunday night, July 6th.]
At the Children’s Museum of New Hampshire, we’re lucky enough to have both a gallery and a studio. Sometimes those words are interchangeable. However, at CMNH, their purposes often and intentionally overlap.
Gallery 6 features four to six installations a year curated by Tess Feltes. For the last few years, every spring, Gallery 6 focuses on a theme we’ve named, “Mosaic: Our Multicultural Neighborhood”. Spotlighting art and culture from around the world, last year the focus was on clothing, toys, photographs and stories from many different countries. This year’s Mosaic installation tightened the focus to just photography from over a dozen different countries.
The Muse Studio is a place where children and their families can create take-home art projects, play games, conduct experiments, among myriad fun activities. Our Studio projects can change daily, weekly or monthly. However, written into the mission statement of Gallery 6 is the following: The Gallery space is designed to blend into the museum’s Studio space . . . connecting the playful creativity of children to the serious investigations of artists.
And what better way to blend, to complement, to unify the many pieces of the Mosaic gallery installation than to actually expose our visitors to art they can make and culture they can study right in our Muse Studio!
Starting in early March, we spotlit a different county each week. Not only did our visiting families learn about art and culture from all over the world, but so did our staff.
In the following twelve weeks, we explored the art, language, geography, folklore, and clothing of Mexico, Japan, Ireland, India, Sweden, Greece, Indonesia, Morocco, Native America, & Australia.
As we welcome our next Gallery opening and Muse Studio theme of “Enchanting Gardens” for the summer, I’ve asked our Museum Educators – those tireless people that you see engaging families with these projects while simultaneously refilling gallons of glue and boxes of popsicle sticks – what their favorite activity has been these last few months. Please enjoy a look back at the 2014 edition of, “Mosaic: Our Multicultural Neighborhood”.
As much as I liked making and wearing the laurels with our visitors during our week of Greek art and culture, I’m going to have to pick the bandolier bag making as my absolute favorite activity! When we were setting up the projects for the Native American week in the Muse Studio, I realized I hadn’t even seen bandolier bags before and I certainly didn’t know that were connected to Native American tribes. We used a lot of textiles and fabrics that kids had already made at CMNH with our weaving looms. So the project also had a great sustainability and green angle to it. Plus, the bags were very fashionable which the kids and I very much appreciated!
Two projects I enjoyed immensely were during the time we devoted to Australia and Ireland. Teaching the kids how to write their names using the Ogham alphabet was using a subject – linguistics – that we don’t touch upon too often in the Muse Studio. Of course, my Irish heritage may make me a bit bias here! That said, I have to give the #1 spot to the Aboriginal Dot Art that we did while focusing on Australia. It was something accessible to all ages and it was a unique way of creating a picture, using guidelines, precision, and focus, but also allowing for imagination. No two were alike!
I was definitely partial to the Viking Helmets we created while exploring Sweden! They were easy to make for a wide range of ages and even though the instructions were pretty clear cut, they left open room for interpretation that let the children expand their design if they felt inspired. Plus, I think it was one of the most popular projects with parents and grandparents during the entirety of the Mosaic theme. I saw quite a few adults walking the around the museum as vikings during Sweden week!
I really liked the dreamcatcher project from the week we spent learning about Native American art and culture. First, it was easy to make at home with simple materials (paper plates, yarn or string, beads, etc.) but the end product was three dimensional and could be continued to a much bigger and detailed level for older kids. Plus, it tied in the folklore of many Native American tribes so we were educating a lot of our younger visitors on this subject for the first time.
I was excited when we selected Morocco as one of our countries to spotlight this year, but was also a little nervous because I wasn’t very familiar with a lot of Moroccan art and culture. Which makes me even happier to say that my favorite project came from the week we spent creating Moroccan art! I LOVED the sand art projects. Were they messy? Sure. But when you’re working in a art studio inside of a children’s museum, it comes with the territory. The sand art consisted of us picking some bright paper as a background, placing down some fun designs or patterns in glue and then shaking brightly colored sand on the glue. Then we let it dry. Simple! But our visitors made so many different kinds of creations through the sand art activity. Toddlers to grandparents seemed to enjoy this activity and I can’t wait until we do it again.
I had a hard time deciding which craft project was my favorite and then I finally realized it wasn’t an active project that stayed with me the longest, but two of the displays that we made for the Studio during the Mosaic theme. The map of New Hampshire that Meghan made during the week we focused on Native American culture was really informative for kids and adults and showed them how many places throughout all of New Hampshire – towns, lakes, river, mountains – have their origins in the different Native American languages. I was also a big fan of the “Greek Gods in Pop Culture” poster that Crystal created during our Greek week. It helped take mythology, which might seem boring and uninteresting for some kids, and show them how much they likely already knew from movies, television, and advertising. It was an interesting angle to take and I saw quite a lot of families pointing at it and discussing it.
We’re so happy that the Mosaic gallery and studio pieces were such a big hit with our staff and our visiting families! The educators are already brainstorming what countries we’ll be focusing on next year.Take Our Poll
We now look ahead to our summer theme in Gallery 6 / the Muse Studio: Enchanting Gardens. The studio has undergone quite a transformation from top-to-bottom to embrace this new wild theme and the Gallery 6 art pieces are so incredible for this installation that we did something that we’ve never done for any of our past installations. I’ve . . . said too much. Stay tuned to the blog to find out the magic we have in store for you this summer!
Over the years, you’ve likely accumulated some less than stellar magic markers. Caps are missing, colors have run dry, and you don’t even know where that random Zayres brand green marker came from!
So what to do? Instead of just chucking all those old markers, why not teach your family about sustainability and recycling by converting those old markers to brand new vibrant watercolor paint!
CMNH Educator Meredith teaches us how in this short how-to video!