Meet Bridget Watson Payne: Publishing for Creatives Workshop on 2/10

 We are excited to have Bridget Watson Payne come to the LPP Workshop to teach a Creatives in Publishing workshop. The workshop is 2/10 from 3-5. We have a few more spots! Go to our online shop to sign up!


Bridget Watson Payne is a writer, artist, and art book editor. She is the author of the books How Art Can Make You Happy, The Secret Art of Being a Grown-Up, This is Happening: Life Through the Lens of Instagram, and New York Jackie: Pictures from Her Life in the City, all from Chronicle Books. With fifteen years of experience in the publishing industry, she has collaborated as an editor with hundreds of authors and artists to make their book ideas a beautiful reality. She has taught at Makeshift Society, the ICON Illustration Conference, and Sketchbook Skool; spoken at the Book Manufacturer’s Institute, California Library Association, California Writer’s Club, Photo Alliance, California College of the Arts, ARLIS NorCal, APA SF, ASMP NorCal, and RayKo Photo Center; reviewed portfolios at PhotoNOLA, Photolucida, and Review Santa Fe; and served on juries for the Society of Illustrators, Critical Mass, Something Personal, and the Lucie Awards. Bridget has been featured on KTVU Mornings on 2, KATU TV Portland, Minnesota Public Radio, Prairie Public Radio, Raise Your Hand Say Yes, Publisher’s Weekly, the San Francisco Chronicle, Design Crush, Swiss Miss, and Women Who Draw, among others. She is currently preparing for her first art show which will be held at San Francisco’s Rare Device in early 2018, and working on two new books to be released in 2019. She lives in San Francisco with her husband and daughter.

LPP’s Dylan Johnson asked Bridget a few questions about her life in publishing and her creative practice!

Did you ever think you’d end up in the world of publishing?

When I was little I always wanted to be an artist. Then as a teenager I became a theater nerd and wanted to be an actress for a while. Only in my twenties did I start to realize that my career path needed to follow my deep love of books. I toyed briefly with the idea of academia, and about the same time that I realized becoming an English professor wasn’t for me I also realized I wanted to get into book publishing. In truth, I had no idea what that really meant, at the time. I just knew that where they made the books I loved was where I wanted to be.


What inspired your latest show Everyday Objects?

I feel really strongly that there is magic and beauty around us all the time if we just open up our eyes and look. People tend to say that sort of thing about the natural world, but I think it’s just as true of the manmade. The mundane day-to-day things we surround ourselves with—household objects, bits of the city—can shine for us if we let them. For me, drawing is one kind of close-looking that allows me to glimpse some fragments of that wonder.

How do you balance your work life and creative life?

Very carefully. I am meticulous about my time. Over the past several years I’ve methodically carved out very specific days of the week and hours of the day when I do my creative work. I have certain standing weekly and biweekly appointments with myself for writing and drawing that (barring big important exceptions like vacations and whatnot) I do not miss. I also hold myself to a strict schedule at the office and rarely bring home work from my job on weekends or evenings. The amount of scheduling and structure I use wouldn’t work for everyone, but it works for me.


What are some of your favorite art books you’ve collected throughout the years?

Oh god! There are so many! So hard to choose. Ok, a few faves:

Golden Gate Bridge by Richard Misrach

Leap Before You Look: Black Mountain College 1933-1957 by Helen Anne Molesworth

Collect Raindrops by Nikki McClure

Inside the Live Reptile Tent by Jeff Brouws

Broad Strokes: 15 Women Who Made Art and Made History (In That Order) by Bridget Quinn

Tantra Song: Tantric Painting from Rajasthan by Franck Andre Jamme

Lorna Simpson Collages by Lorna Simpson (ok, so this one’s not out yet, but man oh man it’s going to be good!)


Do you find your creative process for writing and painting similar or different?

I find writing both easier and more daunting. That may not make sense at first, but if you drill down a bit, it actually does. Part of what I really enjoy about drawing and painting is the challenge – I’m often not confident that my technical skills are up to the task of achieving what I want to achieve, so the whole thing becomes like this thrilling high-wire act to see if I can do it. Whereas I’m much more secure in my writing abilities– I’ve been writing forever, I know how to make a sentence. But, as nearly every writer will tell you, there’s just something about writing that breeds a certain quality of dread and procrastination. Even if you enjoy writing and find it relatively painless, which I do, there is still some weird perverse part of you that dreads sitting down at the desk to do it—that would rather be doing just about anything else. It’s weird. Making art feels risky and weird and joyful for me, making sentences feels more like work. Enjoyable work, but still work.

Kid’s After-School Program, Week 2!


This week was the second of our kiddos after-school program. This week we looked at form and texture through the works of Anna Valdez. Anna is an artist that is based in Oakland, Ca. She works on large scale, creating paintings that depict colorful architecture with botanical accents. She creates dreamy settings, making you want to pack your bags and escape there immediately. To see more of her work, click here.

Inspired by Anna’s use of flora and fauna in her paintings, Kelly created a series of sculptures of potted plants. Both classes of had fun with their own interpretations and creations. Majority created something different from the example, and we love that! Because at the end of the day we just want to foster their creativity. It’s never been about having them copy what we do, we want them to find their own voice and they all seem to be doing just that. We had a wide range of animals (lots of bunnies), abstract pieces, and even some nachos.

This week was even better than the last. Students were way more comfortable with each other, and us as teachers. This lead to goofy conversation and a more free feeling while creating. They were even help each other create bowties for turtles, plates for nachos and other things they were rushing to do before parent-pickup. Its all wonderful to witness and assist. We cant wait for next week!

We now have a President’s Day Camp, Spring Break Camp, and a ton of Summer Camps posted and ready for signups, click here for more information!

Our Kid’s After-School Art Program has begun!


This week was our first week of our FIRST EVER kids after-school art program! This has been the culmination of so much anticipation, and it absolutely was everything we had hoped for and imagined. Watching the kids learn and create with such enthusiasm re-inspired both Kelly and myself to create in our own art practices.

Each after-school program will consist of five week sessions. Four weeks of learning about contemporary artists and creating a project inspired by that artist. The final week will be a gallery night, where the kids get to present their creations from the previous four weeks. They can invite friends and family, showing off what they have learned. We have age 5 – 8 year olds on Tuesday evenings, 9 – 13 year olds on Thursday evenings.

This week the kids learned about shape and color through the works of Alice Tippit. Alice is an artist based in Chicago, her works perfectly illustrate how you can use shape and color in both bold and subtle ways. To learn more about Alice and to see more of her works, click here.

The kid’s project this week was to create a paper mache bowl. Layering tissue paper and glue on a balloon, created the foundation of the bowl. They then cut shapes  our of construction paper and adorned them to the bowl, followed by one last layer of glue. For the shapes, our suggestion was to trace and cut out the shape of their hands. Many of the little kids did just this, the older kids branched off and created whatever shapes they wanted. It was so fun to see their ideas  transform from conception to reality. When the kids come in next week, they will pop the balloons (creating a LOT of excitement) and cut off the top of their bowls to make it a smooth top.

This first week was a dream, and we are so excited to see what the kids create next week when we work with clay! If you are interested in having your kiddos a part of our after-school program, or if you are wondering if we will be doing summer camps (we will!!!), we will be posting information about all of that within the next week! You can also join our mailing list via our website to be the first to know!

Meet Cathleen Bishop : Macrame Plant Hanger Workshop on 10/29


LPP is so excited to have Cathleen Bishop join us on Sunday 10/29 to teach a fun workshop on how to make a macrame plant hanger. This workshop is sold out, but keep your eyes peeled for a fun announcement from LPP on how to learn how to make macrame plant hangers soon! And keep reading to learn a bit more about Cathleen!

Cathleen Bishop is an artist and graphic designer based in San Francisco, CA. She grew up in San Diego and moved to the city to complete her degree. Here, she is able to pursue her passions in culturally and technically diverse surroundings. It has been her goal over the past year to experiment with alternative techniques and expand her creative arsenal. On her days off, you’ll find her hiking with her puppy, Willow, tending to her plants, or harnessing a new skill. She never leaves the house without a sketchbook and a sweater, but often leaves without her phone. Bishop’s artistic passions lie in illustration, photography, layout, typography, fiber arts, and printmaking. She received her Bachelor of Arts in Design from University of San Francisco in 2016.

You can view more of Cathleen’s work by clicking here.

What is your favorite part of creating/making?
I love to work with my hands. I spend a lot of time on the computer and it’s a really nice break to move my eyes away from the screen and get my hands dirty. With macrame, I utilize muscles and tendons in my hands that I don’t normally. When working on a large scale piece, I get to get my whole body into it. Making is a way for me to disconnect from technology while reconnecting with myself. And then of course there’s the finished piece. There’s a lot of satisfaction in stepping back from something that I had my nose up in and now I can see the whole picture. Plop a plant in a new hanger “et voila!” it’s finished.
What is your favorite music to listen to while making?
Sometimes I like to work in the quiet. It’s kind of cathartic to just listen to the sounds of the going-ons in my apartment. When I do listen to music, I like to pop something on the record player rather than use my computer.
Favorite taqueria in the mission?
La Taqueria, obviously. Order your burrito “dorado” for a crispy tortilla. I also really like Tacorgasmico in the Castro. The gorditas are insanely good.
Favorite piece you’ve made so far in 2017?
My sister in law is expecting her first kiddo and she commented on Instagram about a plant hanger I had made. She said that she loved it and “might have to ask for one for the nursery”. Months later I gave it to her at the baby shower and she was so touched that I had remembered her request. I love giving handmade gifts to family and friends.

Meet Alice Gould : Fun with Gouache Workshop on 10/28

We are excited to have Alice Gould come to the LPP Workshop to teach a ceramics workshop. The workshop is 10/28 from 12-4. Each student will receive an LPP Art Kit with all materials included to work in the class and at home! We have a few more spots! Go to our online shop to sign up!

Alice Gould received a BFA from the Rhode Island School of Design and an MFA in from the Nova Scotia College of Art and Design, both in the field of Painting. She grew up in Portland, Oregon, has lived primarily in California’s Bay Area, and often spends time exploring wilderness areas. Nature informs her work. Large oil canvases, spirited gouache works-on-paper, and nature photography are homages to life forces, weather and plant dynamism. Color, craftsmanship and the materiality of art-making are important considerations in her work. She now lives in Oakland. Please visit to view her work and CV.

How did you start painting? 

I had always loved to draw then took a painting class at the Portland Art Museum when I was 13. The assignments felt too rigid, but introduced me to paint. At home I played around with making geometric patterns, then I thought I’d like to do a still life, so put some flowers in a vase and began. I loved my first real painting and kept going from there, learning more later from my high school art class, but always going home to make my own, “real” art — the stuff I did for myself, which was inspired by books I had of Degas, Matisse, Chagall and Picasso. I painted oil portraits and the nude figure as an undergrad!



Is there an artist who’s work you are really excited about lately?

Yes, I saw a show recently of paintings by Jenny Sharaf at the Eleanor Harwood Gallery at Minnestoa Street Project. The paintings are abstract pools of colors lapping into one another on stiller grounds, or even on plaid fabric. Ive worked like this, too, and I love the pure visual effect of her paintings. Great to see in real life.


Above image from 

I love your collages, especially the ones with pompoms! Do you see yourself working with more sculptural elements in the future? Or even perhaps, moving away from 2D altogether?

Funny you should ask! I wonder that myself sometimes, and do see myself working sculpturally. I have a collection forming of vintage bedroom elements like a mattress and headboard, and some throw pillows. I know they are destined for something whacky and wonderful.



There are some stunning large oil paintings that were apart of you MFA thesis. Do you approach oils in the same way that you do gouache, or are they very different ways of painting for you (physically, conceptually)?

Thank you! Nice to hear… Similar approaches, yes. In fact the gouache works help me warm up for larger paintings, usually in oil. If I can create small worlds of curious color and shape relationships easily with a few brush strokes on paper, I can also do this in oil paint with a big canvas and some huge brushes. Its a differnet level of commitment and requires some planning, patience, and control.  It is way more physical, and also more exillerating. One activity inspires the other then Im back to the works on paper, and the cycle continues.



What are sources of inspiration for you? If you ever find yourself in a creative/personal funk what helps you get out of it?

My inspiration and muse is nature. Skies, trees, flowers, seeds, cones, birds, wind, rivers; the chaotic convergence of natural forms and elements I see and feel when I go on wilderness adventures. I am also inspired by fabric patterns, vintage tableware, crafts of all kinds, and jewelry. All visual arts play a role. And the stories of my life, relationships, love, heartache — these are in there, too. Sometimes the art is an imprint or shadow or whisper of these things, other times its more literal. My favorite is when the namable and the unnamabe skate together in the ice-capades.



All images from unless otherwise noted.

Meet Holly Coley: Ceramic Wall Hanging Workshop on 10/22

We are excited to have Holly Coley come to the LPP Workshop to teach a ceramics workshop. The workshop is 10/22 from 1-4. Each student will receive an LPP Art Kit with all materials included to work in the class and at home! Students will pick up their wall hangings two weeks after the class once it has been fired. We have a few more spots! Go to our online shop to sign up!

Holly Coley is an SF based interdisciplinary artist and teacher working in clay and illustration. Four years ago she founded Holly Coley Designs, a small batch handmade ceramic company and has turned more then a few heads at curated craft shows in the Bay Area with her whimsical living sculptures, sloths and clay narwhals. Check out some of Holly’s creations and follow her studio practice on Instagram @hollycoley. Artist website

1. When did you get into ceramics? 

I started working with ceramics in high school but was more interested in painting at that time. So I would say that I got really interested in ceramics about 5 years ago when I started to hand build characters from my paintings.



2. Is there an artist who’s work you are really excited about lately?

Genesis Belanger, I recently came across her work on Instagram. She’s a Brooklyn based artist.  I’m in love with her muted color pallet, objects and her comical feminist narratives. She’s just so great.


Above image from

3. I see that you make hand built objects, but your thrown forms also are beautiful! Do you prefer one way of working with clay over the other? Is there a large difference between these processes for you? 

I work between the two techniques but hand building is my preference.

If I get tired of sculpting and hand building, the wheel is a nice break - there’s a lot of play there.  I like to add elements of hand building to my wheel work. Making functional work is a new experience for me.


4. Your website says you’re a community arts activist! I see you’re very involved in arts education, what other forms does your activism take?

I donate my work and time to support art nonprofits in SF. For instance, I have been a Monster Drawing Rally (Southern Exposure) artist for the past four years helping to raise money for their programming. Every year I donate work to Root Division to support art education in public schools.  Keeping art in peoples lives is very important to me because I would not have made it out of high school without it.

5. What are sources of inspiration for you? If you ever find yourself in a creative/personal funk what helps you get out of it?

I’m inspired by mythologies and ghost stories.  I love Japanese animation, ceramics, and culture.

I’ve lived in SF for 20 years so I’ve had the privilege of getting to know a lot of artists and musicians and their work. I’m constantly inspired by the community here. Living in the Bay Area has made me love water dwelling creatures, especially grey whales.


I sometimes struggle with thinking that there’s not enough room in the world for what I’m saying and making with my art. When I get those dark thoughts, I execute a challenging project for myself. If it turns out, great! If its an epic fail i learn a lot. Either way, I try not to sit around hating on myself.

All images from unless otherwise noted.

Hope to see ya at Holly’s workshop!

Meet Shaine Drake: Intro to Marbling Paper Workshop on 10/21

We are excited to have Shaine Drake come to the LPP Workshop to teach the art of paper marbling. The workshop is 10/21 from 1-3:30. Each student will receive an LPP Art Kit with all materials included to work in the class and at home! We have a few more spots! Go to our online shop to sign up!Shaine Drake is a weaver and marbling artist. She lives and works in San Francisco, CA.

1. How did you get into marbling?

A little over 5 years ago I was working at an art supply store in the city and discovered a
basic starter kit for marbling. I love old books and recognized marbling from the paper used for
the inside covers and spines. I was pretty much instantly attracted to the process. It’s become
really cathartic for me actually. Marbling requires a lot of letting go and leaving things to
chance. The kit didn’t give me the results I really wanted though so I became obsessed with
figuring it out myself. I’m still looking things up online and finding new and old books about the
craft all the time. There’s so much you can do with marbling, I don’t think I’ll ever get tired of it
or stop learning new techniques.


2. Is there an artist who’s work you are really excited about lately?

There are so many people making incredible work right now! I love Sheryl Oppenheim’s
work. She’s a marbler as well and creates really striking pieces using traditional patterns in
different ways and incorporating double marbling and masking. She’s also created amazing
books using her work, which is something I’d love to do. The work she posts inspires me to
experiment more in my own practice…and makes me a little jealous too. They’re so good!


Above image from

3. You also make weavings, how did you start doing that? 

Just after moving to San Francisco, I met a local weaver who was selling her handwoven
clothing and wall hangings and she told me about a home studio in Berkeley that taught a
Japanese-style weaving called Saori. I started attending weekly floor loom weaving classes at
the studio and fell in love with it. My sister-in- law is also an incredible weaver, using a more
structured pattern-based weaving style than Saori, and she introduced me to a beautiful
weaving/fiber community in the bay area through the non-profit Fibershed…which everyone
should check out!


4. Do you find your weavings and your marbling cross-informing each other? Do you think of these processes alike, or are they completely different ways of working for you?

They’re so completely different in terms of materials but I do think of them as alike in a lot of
ways. I keep them pretty separate and focus on one at a time but my style and approach to
both practices are really similar. There’s a decent amount of prep work involved in each
process. With all the prep I can be really meticulous and then when actually weaving and
marbling I can be messy and play around.
I do have a fantasy of weaving marbled patterns as a way to bring them together. I love pattern-
making and both really feed into that. The artist Kustaa Saksi created a collection of insane
jacquard woven tapestries that incorporate some marbled imagery that blew my mind.



5. What are sources of inspiration for you? If you ever find yourself in a creative/personal funk what helps you get out of it?

Since finally moving to the Sunset earlier this year, I’ve definitely been inspired by the colors
and style of the neighborhood. I love stone inlay work too and the combination of natural stones
and geometric patterns. I find a lot of inspiration in the flooring and walls at places like the Getty
Villa. Walking around the city, Chinatown has some amazing spaces with a lot of contrasting
stonework and some of the older buildings downtown have beautiful, more classical marble
inlay. One of my favorite constants in the city is terrazzo. I’ve recently found a way to create a
terrazzo-like look in marbling that I’m so excited about.

When I’m in a funk I try to get out of the city and visit places along the coast and go on hikes.
Point Reyes and the Marin Headlands are a couple of my favorite places to visit and walk
around. I always end up feeling inspired and just generally better after visiting. I love SF but
you can really feel how compact it is sometimes. Also, as part of The Commons at the
Headlands Center for the Arts, Ball-Nogues Studio just created an amazing terrazzo installation!

All images from unless otherwise noted

We hope to see you at Shaine’s workshop!

Meet Isabella Hill: Embroidery Workshop on 10/15

We are excited to have Isabella Hill come to the LPP Workshop to teach the art of embroidery. Her workshop is 10/15 from 1-5. Each student will receive an LPP Art Kit with all materials included to work in the class and at home! We have a few more spots! Go to our online shop to sign up!


Isabella Hill is a native San Franciscan who grew up in a community of artists and creators. Her grandparents were heavily involved in the Hippie art and fashion scene, and her mother was a weaver and clothing designer. From a young age, she understood that clothing is a powerful form of personal expression. She began customizing clothing with embroidery and beading a few years ago as a form of creative release. Her idiosyncratic, playful style quickly gained a following. She has created collaborative pieces with designers Creatures of Comfort and Evan Kinori, as well custom clothing for musicians, artists and other flashy dressers. Her inspirations include Victoriana, vernacular photography, outsider art, country music and the American West.

LPP’s Dylan Johnson who also shares a love of embroidery asked Isabella a few questions about her craft!

When did you start working with embroidery?

I started doing embroidery when I was a child. My grandfather Jerry Wainwright was the photographer behind Native Funk and Flash, a book of hippie fashion that has kind of a cult following among crafters. Having these images and personalities around when I was younger was a huge inspiration. I picked up embroidery again a few years ago when I was feeling frustrated and in search of a creative outlet, then I couldn’t stop!


Your collaboration with Creatures of Comfort is amazing. How did you get involved with them?

I got involved with Creatures of Comfort through a kind of circuitous route. My good friend Megan Plunkett runs a small press, Kingsboro Press, with Seth Zucker, the partner of Creatures of Comfort designer Jade Lai. He showed my work to Jade. She was in the process of designing her Spring 2017 collection which is inspired by Mexico City. She wanted to incorporate some hand embroidery reminiscent of traditional Mexican embroidery, so she reached out to me.

Where did your inspiration come from for the imagery you used?

The imagery I used in the Creatures of Comfort collaboration began with Jade’s touchstone of Mexico City. For me, this expanded to include Frida Kahlo, mexican masks, milagros and retablos (Mexican devotional paintings.) Since my work already incorporates a lot of folk art and surrealistic themes, it ended up being a perfect fit.


It seems like garments play a huge role in your embroidery. How do you pick certain pieces of clothing to work on?

I define my aesthetic as reimagined western wear, so I try to find clothing that fit this theme. I look for vintage american work wear, like Levi’s, Wrangler, and Carhartt. A classic, unisex fit and quality fabrics are also important. I recently designed my first original piece of clothing! It’s a customizable canvas chore jacket that will be available at West Coast Craft this November!


What has inspired your work lately?

Lately my work has gone in two different directions, inspired by some of my recent collaborators. The store Better For Living lent me some amazing denim by Eckhaus Latta to embroider on. The theme of those pieces is “Protective Demons.” I’ve had a lot of fun going over the top with color and details. The result is totally trippy and insane. I also have done a couple small projects for Evan Kinori. His focus is on great craftsmanship, and sophisticated, simple designs. His work inspired me to create tone on tone imagery, simplified to its essential elements.

We hope to see you at Isabella’s workshop!

Amanda Boe


“Amanda Boe (b. 1978) is a photographer based in Brooklyn, New York. She also works as a freelance photo editor at The New York Times. Her photographs have been exhibited internationally, including at SFMOMA Artists Gallery, San Francisco Camerawork, RayKo Photo Center, The Griffin Museum of Photography, The New York Photo Awards, Southern Exposure, Project Basho Gallery, and Photographic Center Northwest. She received an MFA in photography from the Academy of Art University in 2011 and a BA in architecture from the University of Minnesota in 2001″

You can see more of Amanda’s work here and on Instagram.

All text and images from

October Workshops at Little Paper Planes


Our October workshops are up in the online shop! (and in shop as well) Go check it out, we’ve got some great stuff lined up for y’all!