Tag: Paint

Endangered Species and the ARTCORE Newsletter

The June/July issue of ARTCORE is now available FREE AS ALWAYS at ARTCORE
This issues Featured Interview is with Rick Cannizzaro
“I have been creating art ever since I can remember, back to when I was a little child. That joy, the memory of a child creating a picture still inspires me today.”
Read the entire interview here

Articles included
Speaking the “Lingo” of Oil Painting Artists
Being able to speak the language of the arts can be helpful if you are ever want to commission a painting and need to converse with the artist. The artist will also find the following definitions beneficial in expanding their fine art vocabulary.
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The Pastel Painting Process
Pastels are one of the purest and richest forms of art mediums. They have more pigment and less binder than any other medium. As any pastelist will tell you, it is almost like painting with pure, unadulterated color.
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Paul Gauguin – An Art Movement Founder
Post-Impressionist artist Eugene Henri Paul Gauguin was known for his color experimentations.
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And as always look for free Art Books, downloads, art contests, answers to your questions,
and a whole lot more.

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Mesh Coated Surface Acrylic Painting

I have been experimenting with my painting surface as an extension of my steel mesh sculpture. Lately I have adhered fiberglass mesh, the kind used for screen doors, to wood panels. I prime the surface with gesso after adhering the the mesh and end up with a very different support.

 This painting was inspired by shadows on the curtains in my kitchen.

 

 

 

 

 

 

 This painting was inspired by the shadow across the kitchen table. It is aptly named Morning Coffee. It was recently on display at the Larimar Art Center in Palatka, Fl.

 

 

 

 

 

I have also done a number of landscapes in this style. I hope to have them displayed in this blog soon.

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Strappo Art Printmaking

 

I have recently had the opportunity to reform a friendship with an artist I knew in Levittown, NY. Harold Garde was a subtle art influence in my early development. His daughter and I were high school friends which led to hanging out at each other’s homes.  This of course put me in contact with her father Harold. After high school we again crossed paths in art classes he taught at the local community college.

I moved on with my life, he with his until both of us wandered into a gallery opening in central Florida. When I heard his name mentioned I introduced myself. After the fog of some 30 years was cleared away we found we liked each other’s art and enjoyed talking about of all things, art! This led to discussions about a technique that Harold developed and named “Strappo”. This technique is a printmaking monotype dry acrylic image transfer that has been recognized by the New York Metropolitan Museum. A sample of the strappo image is in the museum print library collection.

Specifically the Strappo technique is a combination of two procedures.

The initial process is developing an acrylic painting on a piece of clear glass. In my experience the glass used should be 8 x 10 inches or smaller to start off, my preference being 6 x 8 inches. If you have never painted this way there are a few things you should remember.

·       You are painting in an opposite progression and in reverse

·       So if you paint a background first and cover the entire surface, you will not be able to add any elements

·       If you paint images with dark edges, you will want to do the edges first.

·       Your paint will need to be thick and dry between layers.

I have found that keeping a wet cloth and a razor blade at hand for mistakes have helped in my compositions. Remember it will be easier if you plan out some of the elements of the images in your work. Once the work is completely developed and dried, to thicken the acrylic skin of the painting, additional layers of acrylic gesso should be added.

The second step is the image transfer process.  Fresh coats of acrylic gesso are applied both to the back of the glass plate and on the sheet where the image will be placed. To avoid any undue frustration place the image to be transferred on a sheet of paper with extra space around the edges. Some artists like large white areas around their work while others prefer only enough to provide an edge before the matting. Make sure weight is applied to insure bonding of the gesso layers as they dry. Once dry, the glass can be peeled away from the image leaving the monotype transferred on the paper and the glass plate left clean. You might need a thin blade to remove any dry anchor that might have formed along the edge of the glass to help coaxed the process.  The image having been developed on the glass surface will be exactly as it was painted and very smooth at once creating unique tactile and visual qualities.

Strappo lends itself to some interesting challenges as you work. Perspective and balance take on new meaning as you explore the picture plane. And I think I should mention that the finished art can at once stand alone or be introduced into another finished piece. Harold Garde has a significant body of Strappo work on display at MOFA, the Museum of Florida Art in Deland Fl. Also on display is a permanent installation of his piece Iconoclass that measures 8 feet by 24 feet. This is the 1st unveiling of the fully assembled original Iconoclass mural in 35 years.

 

 

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Successful Concepts for Artists

Once you’ve decided to throw caution to the wind and become the sculptor or painter you knew you could be there are a few things you should remember to become successful. And no, I am not going to rehash what you have probably read a dozen times concerning carrying a sketch pad, viewing art or any of the other tried and true top ten methods. I am going to explain the three most important concepts that you need to know and need to repeat over and over again.

First Concept

Do not beat yourself up over what you think you should be doing. This means that you will make mistakes, find yourself creating art that is not as good as something you saw in a book and generally feel that your work isn’t up to par with your peers. So what, it’s your work and you put the time into its creation. Even if you hate it you will have understood why it’s going in the trash. This leads us to the second important idea.

Second Concept

Throw things away. Yes it is true that not everything you do should be seen by the world. I know you want to keep it for reference for the next piece. But the truth is if it’s going to be part of a later painting you already have the idea in your mind. Besides, you didn’t like the first piece you did anyway.

Third Concept

Forgive yourself. This is the most important thing to remember. You need to do this because you will ignore concept number one and beat yourself up on a regular basis. Then once you forgive yourself for not remembering the first concept, forgive yourself for not adhering to the second concept. You and I both know you will never let go of that doodle you did in a coffee shop that you know is the beginning of your greatest piece of art.

So there you have it. Success in your mind is the most important component to success in the field of art. Remember this is straight talk from an artist who regularly beats himself up about how poorly his ideas have translated into his art. And, who has masterpieces created years ago in a high school drawing class hidden away, waiting to be used in that defining masterpiece. But who also knows that the joy of creating his art has become more important and satisfying each day of his life.

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