BINDERS HAPPENINGS
Happy Holidays everyone, from all of us at BINDERS! For all of you last-minute-shoppers, please remember that the store will be closing at 6 pm on Christmas Eve and we will be closed on Christmas. Starting this week, The Limelight Gallery is pleased to present a special exhibition of art created by our very own employees! Come by and see what your favorite BINDERS staff members have been working on. New classes begin the week of January 7 - in the meantime, please see our upcoming schedule and plot out your educational plans for 2011!
Monday, December 20, 2010
Sunday, December 12, 2010
The Subject of Art #18: Egg Tempra Painting - An Ancient Medium in the Modern World!
January 28th-30th, BINDERS will be hosting the workshop “Painting in Egg Tempera” with Phil Schirmer. This is a variety of painting that has a long and rich history and it’s worth taking a look more closely. Not to be confused with the contemporary Tempera Paint—also sometimes called Poster Paint, which is a cheap mixture of pigments with glue sizing—traditional Egg Tempera is a mixture of pigments with egg yolk that forms a permanent, fast-drying surface.
Egg tempera paintings are very durable and the medium was favored in the ancient world for that reason. Examples of egg tempera still exist from Egypt, Greece, Rome and India dating back more than two thousand years, but the real flowering of the technique occurred in Europe during the Medieval period, when it was the dominant form of painting up until the advent of oil paint in the 1500’s. Up until the middle of the Renaissance, the majority of paintings on wooden panels were done in egg tempera (the rest were encaustic which is not nearly as durable), with perhaps the most famous example of the time being Botticelli’s “Birth of Venus”. Even as oil paint began to take over, tempera was still used in the underpainting stage because of its fast drying time, but it was the popularity of canvas supports that eventually phased out tempera, which requires a rigid surface, like a wood panel or a plaster wall, to prevent the dry paint from cracking.
Phil Schirmer describes the egg tempera technique as follows:
“The first step is to prepare a traditional gesso by mixing crushed marble or precipitated chalk with rabbit skin glue. This is heated and applied in six to eight coats to a masonite panel (the Italians used either poplar or linden wood panels). After drying, the surface is smoothed by a wooden block dipped in water. The panel is then lightly sanded and left to cure for a few days before painting. The paint is prepared by mixing powdered pigments with egg yolk and distilled water. Chicken's eggs are generally used, though Russian icon painters prefer goose eggs because they have a higher oil content. The paint is then applied in very thin layers to the panel. Cennini's technique calls for executing the entire first layer in a monochromatic tone (black or brown and white), then glazing in the colors. In principle, this is still done by contemporary tempera painters, though they may do the underpainting in different colors. Eventually, many layers of transparent paint are applied, working up into the highlights and down into the shadows. It is this "layering" which gives tempera its unique quality. If done carefully, the tempera painter can create optical effects that can't be obtained by any other medium. No finishing is required. Over the course of several years, the surface will harden and become more durable than any oil-based varnish.”
Although egg tempera has never fully regained it’s former popularity, throughout the centuries artists have frequently “rediscovered” the special qualities that make tempera painting a unique artform. Notable artists who have worked in the medium include William Blake, the Pre-Raphaelites, Giorgio de Chirico, Thomas Hart Benton, Ben Shahn and Andrew Wyeth. You can find a wealth of information on the subject as well as communities of artists like Phil Schirmer who are committed to keeping this artform relevant to the world we live in. Visit the The Art School at BINDERS to find out more about Phil’s upcoming workshop!
Egg tempera paintings are very durable and the medium was favored in the ancient world for that reason. Examples of egg tempera still exist from Egypt, Greece, Rome and India dating back more than two thousand years, but the real flowering of the technique occurred in Europe during the Medieval period, when it was the dominant form of painting up until the advent of oil paint in the 1500’s. Up until the middle of the Renaissance, the majority of paintings on wooden panels were done in egg tempera (the rest were encaustic which is not nearly as durable), with perhaps the most famous example of the time being Botticelli’s “Birth of Venus”. Even as oil paint began to take over, tempera was still used in the underpainting stage because of its fast drying time, but it was the popularity of canvas supports that eventually phased out tempera, which requires a rigid surface, like a wood panel or a plaster wall, to prevent the dry paint from cracking.
Phil Schirmer describes the egg tempera technique as follows:
“The first step is to prepare a traditional gesso by mixing crushed marble or precipitated chalk with rabbit skin glue. This is heated and applied in six to eight coats to a masonite panel (the Italians used either poplar or linden wood panels). After drying, the surface is smoothed by a wooden block dipped in water. The panel is then lightly sanded and left to cure for a few days before painting. The paint is prepared by mixing powdered pigments with egg yolk and distilled water. Chicken's eggs are generally used, though Russian icon painters prefer goose eggs because they have a higher oil content. The paint is then applied in very thin layers to the panel. Cennini's technique calls for executing the entire first layer in a monochromatic tone (black or brown and white), then glazing in the colors. In principle, this is still done by contemporary tempera painters, though they may do the underpainting in different colors. Eventually, many layers of transparent paint are applied, working up into the highlights and down into the shadows. It is this "layering" which gives tempera its unique quality. If done carefully, the tempera painter can create optical effects that can't be obtained by any other medium. No finishing is required. Over the course of several years, the surface will harden and become more durable than any oil-based varnish.”
Although egg tempera has never fully regained it’s former popularity, throughout the centuries artists have frequently “rediscovered” the special qualities that make tempera painting a unique artform. Notable artists who have worked in the medium include William Blake, the Pre-Raphaelites, Giorgio de Chirico, Thomas Hart Benton, Ben Shahn and Andrew Wyeth. You can find a wealth of information on the subject as well as communities of artists like Phil Schirmer who are committed to keeping this artform relevant to the world we live in. Visit the The Art School at BINDERS to find out more about Phil’s upcoming workshop!
Monday, December 6, 2010
This Week @ BINDERS - December 6-12
BINDERS HAPPENINGS
The time to look at the upcoming schedule for The Art School at BINDERS is right now! We have a veritable smorgasbord of classes and workshops to ring in the new year and you’ll want to sign up soon to make sure your space is reserved. We’ll be featuring Oil Painting with Charles Walls, Acrylic and Oil Painting with JZ Torre, Architectural Renderings with Joyce Carll, Encaustic Painting with Penny Treese, Illuminated Manuscripts with Shannon Forester, Screen Printing with the Atlanta Printmakers Studio, Silk Dye Painting with Hellene Vermillion, plus workshops in Egg Tempera Painting, Clay Portrait Modeling and Anne Elser’s popular Container Workshop! There is literally something for everyone at BINDERS in 2011!
ART CLASSES AND WORKSHOPS
Monday, December 6:
Guided Open Studio with Kay Powell
10:30am-1pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
Tuesday, December 7:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Bookmaking Two: The Opened Book with Anne Elser1:30-4pm, Tuesdays, 6 Sessions, Dec.7-Jan. 25 (no class Dec. 21, 28)
Intermediate-Ad vanced | Fee: $155
Bookmaking One: Beginning Bookmaking with Anne Elser
6-8:30pm, Tuesdays, 6 Sessions, Dec.7-Jan. 25 (no class Dec. 21, 28)
Beginner-Intermediate | Fee: $155
Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Wednesday, December 8:
Calligraphy Three: Advanced Calligraphy with Anne Elser6-8:30pm, Wednesdays, 6 Sessions, Dec.8-Jan. 26 (no class Dec. 22, 29)
Intermediate-Ad vanced | Fee: $155
No special art events today.
No special art events today.
Sunday, December 12:
No special art events today.
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
THE LIMELIGHT GALLERY
The time to look at the upcoming schedule for The Art School at BINDERS is right now! We have a veritable smorgasbord of classes and workshops to ring in the new year and you’ll want to sign up soon to make sure your space is reserved. We’ll be featuring Oil Painting with Charles Walls, Acrylic and Oil Painting with JZ Torre, Architectural Renderings with Joyce Carll, Encaustic Painting with Penny Treese, Illuminated Manuscripts with Shannon Forester, Screen Printing with the Atlanta Printmakers Studio, Silk Dye Painting with Hellene Vermillion, plus workshops in Egg Tempera Painting, Clay Portrait Modeling and Anne Elser’s popular Container Workshop! There is literally something for everyone at BINDERS in 2011!
ART CLASSES AND WORKSHOPS
Guided Open Studio with Kay Powell
10:30am-1pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
Tuesday, December 7:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Bookmaking Two: The Opened Book with Anne Elser1:30-4pm, Tuesdays, 6 Sessions, Dec.7-Jan. 25 (no class Dec. 21, 28)
Intermediate-Ad
Bookmaking One: Beginning Bookmaking with Anne Elser
6-8:30pm, Tuesdays, 6 Sessions, Dec.7-Jan. 25 (no class Dec. 21, 28)
Beginner-Intermediate | Fee: $155
Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Wednesday, December 8:
Calligraphy Three: Advanced Calligraphy with Anne Elser6-8:30pm, Wednesdays, 6 Sessions, Dec.8-Jan. 26 (no class Dec. 22, 29)
Intermediate-Ad
Thursday, December 9:
No special art events today.
Friday, December 10:
No special art events today.
Sunday, December 12:
No special art events today.
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
THE LIMELIGHT GALLERY
Thursday, December 2, 2010
The Subject of Art #17: Yantra - The Abstract and Sacred Art of India
Many of us are familiar with the figurative art that comes from the Hindu tradition of India, the brightly colored and imaginative scenes of blue-skinned Krishna, the elephant-headed Ganesha and the dancing Shiva Nataraj are certainly familiar to anyone who has set foot in a local yoga studio and have managed to find their way into the popular consciousness of Western cultures. Less well known is the far more esoteric but equally rich paradigm of non-objective art known as the yantra.
In Sanskrit, the sacred language of India, “yantra” means “instrument” or “machine”, implying that this is a form of art that is used for a particular purpose, in this case as an aid to meditation and as a focus in religious ceremonies. The origins of the yantras are shrouded in mystery and it is uncertain when they were first developed and used. Legend has it that the famous philosopher and Hindu saint Adi Shankara traveled around Southern India installing yantras in the temples there in the 8th century CE, many of which can still be seen today, so if the legends are to be believed then yantras have been part of the Hindu consciousness for at least one and a half millennia.
The yantra is an abstract design whose components have very specific, symbolic meanings. They are carefully balanced images combining squares, triangles circles, flower-like forms with varying numbers of petals and other linear forms. Some of these are interestingly familiar to us from other cultural references, such as the interlocking triangles, one pointing up and the other down, that is called the Star of David in Judaism, in a yantra represents the intersection of masculine and feminine energies as well as the point at which divine grace coming down from heaven meets the spiritual seekers aspiration for enlightenment. An arrangement of eight flower petals represent the five elements that make up the material universe, plus the three states of mind (intellect, wisdom and ego).
The yantra is primarily used as a tool for meditation in yoga practice. The meditator stares directly into the center point of the yantra (called the “bindu”) and attempts to clear the mind of all other thoughts – a task that is far more difficult than it sounds! Over time, the physical yantra is less necessary, as the meditator is able to visualize the yantra on a purely mental level and various techniques are taught for mentally constructing the yantra, either beginning from the center and working outwards or the reverse, depending on the school of meditation being practice. The object is to become fully identified with the energy represented by the yantra.
Each yantra is associated with a certain deity in the Hindu pantheon, and each deity is associated with certain energies. The goddess Saraswati, for example, is associated with learning, creativity and purity of thought, so meditating on a Saraswati yantra is thought to amplify those qualities in the practitioner. The goddess Lakshmi is associated with abundance, fertility and wealth, while the goddess Durga is associated with protection and the ability to defeat one’s enemies (who are defined by yogic philosophy as the demons of the ego). During religious ceremonies that honor these deities, yantras are often used in addition to, or occasionally in place of, anthropomorphic icons, demonstrating that they have many dimensions and manifestations. These yantras are typically inscribed on metal plates or carved from precious stones.
If you have the opportunity to see a yantra, take some time to stare deeply into its center, clear your mind of all other thoughts and see what comes up for you!
Visit BINDERS website!
In Sanskrit, the sacred language of India, “yantra” means “instrument” or “machine”, implying that this is a form of art that is used for a particular purpose, in this case as an aid to meditation and as a focus in religious ceremonies. The origins of the yantras are shrouded in mystery and it is uncertain when they were first developed and used. Legend has it that the famous philosopher and Hindu saint Adi Shankara traveled around Southern India installing yantras in the temples there in the 8th century CE, many of which can still be seen today, so if the legends are to be believed then yantras have been part of the Hindu consciousness for at least one and a half millennia.
The yantra is an abstract design whose components have very specific, symbolic meanings. They are carefully balanced images combining squares, triangles circles, flower-like forms with varying numbers of petals and other linear forms. Some of these are interestingly familiar to us from other cultural references, such as the interlocking triangles, one pointing up and the other down, that is called the Star of David in Judaism, in a yantra represents the intersection of masculine and feminine energies as well as the point at which divine grace coming down from heaven meets the spiritual seekers aspiration for enlightenment. An arrangement of eight flower petals represent the five elements that make up the material universe, plus the three states of mind (intellect, wisdom and ego).
The yantra is primarily used as a tool for meditation in yoga practice. The meditator stares directly into the center point of the yantra (called the “bindu”) and attempts to clear the mind of all other thoughts – a task that is far more difficult than it sounds! Over time, the physical yantra is less necessary, as the meditator is able to visualize the yantra on a purely mental level and various techniques are taught for mentally constructing the yantra, either beginning from the center and working outwards or the reverse, depending on the school of meditation being practice. The object is to become fully identified with the energy represented by the yantra.
Each yantra is associated with a certain deity in the Hindu pantheon, and each deity is associated with certain energies. The goddess Saraswati, for example, is associated with learning, creativity and purity of thought, so meditating on a Saraswati yantra is thought to amplify those qualities in the practitioner. The goddess Lakshmi is associated with abundance, fertility and wealth, while the goddess Durga is associated with protection and the ability to defeat one’s enemies (who are defined by yogic philosophy as the demons of the ego). During religious ceremonies that honor these deities, yantras are often used in addition to, or occasionally in place of, anthropomorphic icons, demonstrating that they have many dimensions and manifestations. These yantras are typically inscribed on metal plates or carved from precious stones.
If you have the opportunity to see a yantra, take some time to stare deeply into its center, clear your mind of all other thoughts and see what comes up for you!
Visit BINDERS website!
Monday, November 29, 2010
This Week @ BINDERS - November 29-December 5
BINDERS HAPPENINGS
Need a one of a kind Holiday gift, wall hanging or addition to your own scarf collection? See what the ancient art of silk dye painting is all about in this fun filled workshop. Join accomplished silk painter Hellene Vermillion and learn a few techniques used in creating silk dye painted scarves and paintings. You will create your own 11"x60" silk scarves using a water based resist and Jacquard Green Label dyes. Hellene’s Holiday Silk Workshop for beginner and intermediate silk painters is happening on Saturday, December 4th from 12-4 pm. Sign up online or ask a sales associate in the store!
ART CLASSES AND WORKSHOPS
Monday, November 29:
Guided Open Studio with Kay Powell
10:30am-1pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
Tuesday, November 30:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Bookmaking Two: The Opened Book with Anne Elser
6-8:30pm, Tuesdays, 6 Sessions, Oct. 26-Nov. 30
Intermediate-Advanced | Fee: $155
Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Wednesday, December 1:
Calligraphy Two: Copperplate with Anne Elser
6-8:30pm, Wednesdays, 5 Sessions, Oct. 27-Dec. 1
Beginner-Intermediate | Fee: $135
No special art events today.
No special art events today.
Fee: $100 (Price includes some materials) | Sign up now!
Sunday, December 5:
No special art events today.
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
THE LIMELIGHT GALLERY
Need a one of a kind Holiday gift, wall hanging or addition to your own scarf collection? See what the ancient art of silk dye painting is all about in this fun filled workshop. Join accomplished silk painter Hellene Vermillion and learn a few techniques used in creating silk dye painted scarves and paintings. You will create your own 11"x60" silk scarves using a water based resist and Jacquard Green Label dyes. Hellene’s Holiday Silk Workshop for beginner and intermediate silk painters is happening on Saturday, December 4th from 12-4 pm. Sign up online or ask a sales associate in the store!
ART CLASSES AND WORKSHOPS
Guided Open Studio with Kay Powell
10:30am-1pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
Tuesday, November 30:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Bookmaking Two: The Opened Book with Anne Elser
6-8:30pm, Tuesdays, 6 Sessions, Oct. 26-Nov. 30
Intermediate-Advanced | Fee: $155
Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Wednesday, December 1:
Calligraphy Two: Copperplate with Anne Elser
6-8:30pm, Wednesdays, 5 Sessions, Oct. 27-Dec. 1
Beginner-Intermediate | Fee: $135
Thursday, December 2:
No special art events today.
Friday, December 3:
No special art events today.
Saturday, December 4:
Holiday Silk with Hellenne Vermillion12-4pm, Sat. Dec. 4 | Beginner to IntermediateFee: $100 (Price includes some materials) | Sign up now!
Sunday, December 5:
No special art events today.
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
THE LIMELIGHT GALLERY
Thursday, November 18, 2010
The Subject of Art #16: Fresco - Art Made to Last!
When was the last time you found yourself browsing the website of the Vatican? There may actually be a reason to do so now! J.Z.Torre, who teaches painting classes here at BINDERS, let us know about a fantastic web page, hosted by the Pope himself, that lets you take a virtual spin around the famous Sistine Chapel. This wonderfully done application lets you fly up into the air and get a close look at all of the artwork covering the walls and ceiling of the chapel, so you can see the paintings in the context of the entire room, which is very difficult to do in a book. As an added bonus, you don’t have to deal with the crowds!
Here’s the link: http://www.vatican.va/various/cappelle/sistina_vr/index.html
The paintings that you see in the Sistine Chapel were created using a technique called “fresco,” which is very ancient and has a number of interesting permutations. The basic concept of the fresco is a painting done directly onto, or into, a plaster wall, what we would refer to today as a mural. Fresco paintings are of two types: “buon fresco”, which is when the artist applies pigment directly into the wet plaster, and “a secco”, which is when the artist paints over a dried plaster surface with a conventional paint. Ancient examples of buon fresco can be found in Italy, where the Romans made extensive use of it in decorating their buildings. The most well preserved examples are inside structures that were buried by the eruption of Mount Vesuvius in Pompeii and Herculaneum. The a secco technique was used by the Egyptians and can be found still intact in many of their tomb complexes that were sealed off from the elements. The fragile watercolor paint used by the Egyptians did not last anywhere else, so the remains of their temples and homes show only the bare stone surface.
Most of the paintings in the Sistine Chapel were executed in the buon fresco style, with only a few additions being added later in the a secco style. Buon fresco is a difficult technique on account of the rapid drying time of the plaster, which begins to seal after eight to ten hours. The artist would need to do a great deal of pre-planning before each session to determine how much painting could be done in a particular day, then the wet plaster would be laid down covering just enough of the wall that it could be completely painted before it dried too much. The pigment was simply mixed with a little water and then brushed into the wet plaster, mixing with it and effectively becoming part of the wall. That is the secret to the buon fresco’s durability: as long as the plaster wall stays intact, the painting will be perfectly protected. So we begin to see an explosion of fresco paintings during the Middle Ages when they were installed in churches. Because the church was a building that was usually protected and preserved, the paintings within its walls were also similarly preserved and remain available for us to view today.
The a secco method, in which the dry plaster is painted over with watercolor, tempera, encaustic or some other paint medium, is much less permanent and is subject to being scratched or abraded off the wall. A secco painting was often used to touch up the buon fresco, especially where the seams were visible in between one day’s layer of plaster and the next. Over time the a secco paint would flake off, revealing the sections of plaster and giving a window into the artist’s process.
The paintings in the chapel were commissioned by Popes Sixtus IV and Julius II, beginning in 1480, and feature the work of some of the Renaissance’s most celebrated artists. The central tier of the walls feature a series of works by Ghirlandaio, Botticelli and Perugino that depict the lives of Moses and Jesus. But, of course, the most famous sections are the upper tier of the walls, the entire vaulted ceiling and the wall behind the altar that were painted by Michelangelo. Interestingly, Michelangelo was much more focused on sculpture and didn’t consider himself to be much of a painter, so he initially resisted the commission, but in those days if the Pope told you to do something you did it! We are all the more fortunate that that was the case.
Here’s the link: http://www.vatican.va/various/cappelle/sistina_vr/index.html
The paintings that you see in the Sistine Chapel were created using a technique called “fresco,” which is very ancient and has a number of interesting permutations. The basic concept of the fresco is a painting done directly onto, or into, a plaster wall, what we would refer to today as a mural. Fresco paintings are of two types: “buon fresco”, which is when the artist applies pigment directly into the wet plaster, and “a secco”, which is when the artist paints over a dried plaster surface with a conventional paint. Ancient examples of buon fresco can be found in Italy, where the Romans made extensive use of it in decorating their buildings. The most well preserved examples are inside structures that were buried by the eruption of Mount Vesuvius in Pompeii and Herculaneum. The a secco technique was used by the Egyptians and can be found still intact in many of their tomb complexes that were sealed off from the elements. The fragile watercolor paint used by the Egyptians did not last anywhere else, so the remains of their temples and homes show only the bare stone surface.
Most of the paintings in the Sistine Chapel were executed in the buon fresco style, with only a few additions being added later in the a secco style. Buon fresco is a difficult technique on account of the rapid drying time of the plaster, which begins to seal after eight to ten hours. The artist would need to do a great deal of pre-planning before each session to determine how much painting could be done in a particular day, then the wet plaster would be laid down covering just enough of the wall that it could be completely painted before it dried too much. The pigment was simply mixed with a little water and then brushed into the wet plaster, mixing with it and effectively becoming part of the wall. That is the secret to the buon fresco’s durability: as long as the plaster wall stays intact, the painting will be perfectly protected. So we begin to see an explosion of fresco paintings during the Middle Ages when they were installed in churches. Because the church was a building that was usually protected and preserved, the paintings within its walls were also similarly preserved and remain available for us to view today.
The a secco method, in which the dry plaster is painted over with watercolor, tempera, encaustic or some other paint medium, is much less permanent and is subject to being scratched or abraded off the wall. A secco painting was often used to touch up the buon fresco, especially where the seams were visible in between one day’s layer of plaster and the next. Over time the a secco paint would flake off, revealing the sections of plaster and giving a window into the artist’s process.
The paintings in the chapel were commissioned by Popes Sixtus IV and Julius II, beginning in 1480, and feature the work of some of the Renaissance’s most celebrated artists. The central tier of the walls feature a series of works by Ghirlandaio, Botticelli and Perugino that depict the lives of Moses and Jesus. But, of course, the most famous sections are the upper tier of the walls, the entire vaulted ceiling and the wall behind the altar that were painted by Michelangelo. Interestingly, Michelangelo was much more focused on sculpture and didn’t consider himself to be much of a painter, so he initially resisted the commission, but in those days if the Pope told you to do something you did it! We are all the more fortunate that that was the case.
Monday, November 15, 2010
This Week @ BINDERS - November 15-21
BINDERS HAPPENINGS
Visit BINDERS for all of your creative holiday gifts! Shop our holiday gift guide and check out the new show up at The Limelight Gallery in BINDERS! The Atlanta Fine Arts League is presenting “Small Works,” an art exhibition and sale of works by local artists that provides a great opportunity to shop for unique and affordably priced gifts this holiday season. “Small Works” is running from November 15th to December 15th, plus you can meet the artists at the opening reception on November 20th at 5 pm! It’s all happening right here at BINDERS.
ART CLASSES AND WORKSHOPS
Monday, November 15:
Guided Open Studio with Kay Powell
10:30am-1pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
Tuesday, November 16:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Bookmaking Two: The Opened Book with Anne Elser
6-8:30pm, Tuesdays, 6 Sessions, Oct. 26-Nov. 30
Intermediate-Advanced | Fee: $155
Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Wednesday, November 17:
Calligraphy Two: Copperplate with Anne Elser
6-8:30pm, Wednesdays, 5 Sessions, Oct. 27-Dec. 1
Beginner-Intermediate | Fee: $135
Silk Dye Painting Basics with Hellenne Vermillion
5:30-8:30pm, Wednesdays, 5 Sessions, Oct. 13-Nov. 17 (no class Nov. 3)
Beginner to Intermediate | Some materials included in fee | Fee: $145
No special art events today.
No special art events today.
n-Oil with Colley Whisson10am-4:30pm, Sat. and Sun. Nov 20-21 | Open to all levels | Fee: $250 | This workshop is currently full. Please Call Eli Pelizza to be added to the waiting list. 404.237.6331 ext 203
Smallworks Art Exhibition and Sale by The Atlanta Fine Arts League5-7pm, Opening reception
Sunday, November 21:
Modern Impressionism-I n-Oil with Colley Whisson
10am-4:30pm, Sat. and Sun. Nov 20-21 | Open to all levels | Fee: $250 | This workshop is currently full. Please Call Eli Pelizza to be added to the waiting list. 404.237.6331 ext 203
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
THE LIMELIGHT GALLERY
Visit BINDERS for all of your creative holiday gifts! Shop our holiday gift guide and check out the new show up at The Limelight Gallery in BINDERS! The Atlanta Fine Arts League is presenting “Small Works,” an art exhibition and sale of works by local artists that provides a great opportunity to shop for unique and affordably priced gifts this holiday season. “Small Works” is running from November 15th to December 15th, plus you can meet the artists at the opening reception on November 20th at 5 pm! It’s all happening right here at BINDERS.
ART CLASSES AND WORKSHOPS
Guided Open Studio with Kay Powell
10:30am-1pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
Tuesday, November 16:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Bookmaking Two: The Opened Book with Anne Elser
6-8:30pm, Tuesdays, 6 Sessions, Oct. 26-Nov. 30
Intermediate-Advanced | Fee: $155
Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Wednesday, November 17:
Calligraphy Two: Copperplate with Anne Elser
6-8:30pm, Wednesdays, 5 Sessions, Oct. 27-Dec. 1
Beginner-Intermediate | Fee: $135
Silk Dye Painting Basics with Hellenne Vermillion
5:30-8:30pm, Wednesdays, 5 Sessions, Oct. 13-Nov. 17 (no class Nov. 3)
Beginner to Intermediate | Some materials included in fee | Fee: $145
Thursday, November 18:
No special art events today.
Friday, November 19:
No special art events today.
Saturday, November 20:
Modern Impressionism-ISmallworks Art Exhibition and Sale by The Atlanta Fine Arts League5-7pm, Opening reception
Sunday, November 21:
Modern Impressionism-I
10am-4:30pm, Sat. and Sun. Nov 20-21 | Open to all levels | Fee: $250 | This workshop is currently full. Please Call Eli Pelizza to be added to the waiting list. 404.237.6331 ext 203
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
THE LIMELIGHT GALLERY
Wednesday, November 10, 2010
Tips & Tricks #15: Glazing — How to Make Paintings Glow With an Inner Light! Part 1: History and Mechanics
Have you ever been to an art museum and looked on the vast array of beautifully executed paintings wondering how on Earth did the artists get such rich, deep colors that seem to radiate light out from within?
Ever since the 15th century, when oil paint first started to become popular as a fine art medium, painters have been using a technique known as "glazing" to create their fantastic colors. Glazing takes a lot of practice to master, but it is not a complex process in an of itself, so with some patience and diligent effort, you can get that same depth and richness in your own paintings!
In Part 1 of this subject we'll look at the history of the glazing technique, how it developed and who some of the major players were, and we'll also delve into the mechanics of glazing with the intention of gaining an understanding of why glazes look so wonderful.
Let's begin with the mechanics. A glaze, by definition, is a thin, semi-transparent layer of colored paint. Typically a small amount of colored paint is mixed with some proportionally greater amount of clear medium to form the glaze, with the exact proportions being dependent on how much of the underlying paint surface you which to see through the glaze. The glazing technique is accomplished by first rendering a monochromatic underpainting, usually with white and another color like burnt sienna, ivory black or green earth. The underpainting should present a rough, sketchy version of the final painting, showing the different forms that make up the composition and presenting basic areas of value that delineate the lights and the shadows. Once the underpainting is COMPLETELY dry, a glaze of a particular color is prepared and then painted over the top of it. Because of the transparency of the glaze layer, the underpainting will still be visible, but it will now be tinted with the hue of the glaze. In most cases it is proper to wait until the glaze layer is dry before applying another one. Each successive layer adds greater complexity and richness to the colors and provides an opportunity for the artist to refine the forms and accentuate the details in the composition. This is just a brief description, we'll get more into the actual step-by-step process in the next chapter of this subject.
So you can probably see already that glazing allows for the creation of very developed and purposeful color schemes because it separates the process into a series of layers and allows the artist to contemplate exactly how much of a particular color to put in a certain area of the painting. Over time, the glazes will build up to create a level of complexity that closely matches that of the real world, which is why glazed paintings can be startlingly photorealistic. In this way, glazing is a technique that can be used to good effect in any painting medium that allows for transparency: oil, acrylic and watercolor being the main ones. However, while glazing is an important technique in both acrylics and watercolors, it is in oil painting that the true majesty of it becomes apparent. The reason for this is because of the physical nature of oil paints which make them different from other media.
Oil paint is essentially pigment mixed with a drying vegetable oil, typically linseed oil, although walnut and poppyseed oil can also be found in certain cases. When oil paint dries, the chemical properties of the oil actually change on a molecular level, becoming a totally different substance from the wet version. This is important because it means that when a wet layer of oil paint is layered over a dry one, the wet layer will stick to the dry one, since it has adhesive properties, but the two will always remain separate layers. With both watercolor and acrylic paint on the other hand, painting one layer over another results in a complete bonding of the two layers that results in one thick layer with stratifications of color. So the secret to the oil painting's beauty is the way that light reflects off the surface of the glazes.
Since glaze layers are translucent, the light passes through them until it reaches the opaque underpainting, then it is reflected back out through the glazes again and goes into the eyes of the viewer. With an acrylic or watercolor painting, the light reacts to the glazes as if they were all one layer, no matter how many layers went into the creation of the color, so it passes through the one layer, reflects off the underpainting and comes back out through that one layer, with the result being one-dimensional (so to speak). With an oil painting, the light passes through each layer as a separate stage before hitting the underpainting, and as the light passes from one layer to the next it becomes slightly refracted resulting in an increase in depth and richness to the color. So, if you have a painting that has three glazed layers on it, the light passes through each of those layers, refracting each time, reflects off of the underpainting and passes back through all three layers again, refracting even more and resulting in a much more complex and realistic looking color.
Now imagine the painting with ten layers of glaze, or twenty! This refraction of light through the translucent layers of glazed color is the secret to why those paintings in the museum look so great and, since this quality is unique to oil paint, it is one of the reasons why oil painting has never been eclipsed by newer varieties of paint like acrylic.
Although oil paint was in use for quite some time beforehand, the peculiar qualities of the glazing technique did not become apparent until the 1400's. The primary medium for painting up until that time was egg tempera, a type of paint that is very opaque and did not lend itself to glazing at all. The early experimenters with glazing still used egg tempera when creating the underpainting, which had it's advantages since egg tempera dries very rapidly. The most famous of these early experiments is the "Arnolfini Portrait" by the Dutch painter Jan van Eyck in 1434. The technique seems to have been immediately and spectacularly successful as is evident from the richness of the colors in this early work by a master artist. The possibilities were not lost on the art world of 15th century Europe and within the next hundred years oil paint came to supplant egg tempera almost completely. With the development and ensuing popularity of canvas as a support, tempera was no longer used even in the underpainting, so oil paint became the dominant painting medium for the next 500 or so years until the invention of acrylic polymer.
Next week we'll look at the actual process of how a painting is constructed using glaze layers!
Ever since the 15th century, when oil paint first started to become popular as a fine art medium, painters have been using a technique known as "glazing" to create their fantastic colors. Glazing takes a lot of practice to master, but it is not a complex process in an of itself, so with some patience and diligent effort, you can get that same depth and richness in your own paintings!
In Part 1 of this subject we'll look at the history of the glazing technique, how it developed and who some of the major players were, and we'll also delve into the mechanics of glazing with the intention of gaining an understanding of why glazes look so wonderful.
Let's begin with the mechanics. A glaze, by definition, is a thin, semi-transparent layer of colored paint. Typically a small amount of colored paint is mixed with some proportionally greater amount of clear medium to form the glaze, with the exact proportions being dependent on how much of the underlying paint surface you which to see through the glaze. The glazing technique is accomplished by first rendering a monochromatic underpainting, usually with white and another color like burnt sienna, ivory black or green earth. The underpainting should present a rough, sketchy version of the final painting, showing the different forms that make up the composition and presenting basic areas of value that delineate the lights and the shadows. Once the underpainting is COMPLETELY dry, a glaze of a particular color is prepared and then painted over the top of it. Because of the transparency of the glaze layer, the underpainting will still be visible, but it will now be tinted with the hue of the glaze. In most cases it is proper to wait until the glaze layer is dry before applying another one. Each successive layer adds greater complexity and richness to the colors and provides an opportunity for the artist to refine the forms and accentuate the details in the composition. This is just a brief description, we'll get more into the actual step-by-step process in the next chapter of this subject.
So you can probably see already that glazing allows for the creation of very developed and purposeful color schemes because it separates the process into a series of layers and allows the artist to contemplate exactly how much of a particular color to put in a certain area of the painting. Over time, the glazes will build up to create a level of complexity that closely matches that of the real world, which is why glazed paintings can be startlingly photorealistic. In this way, glazing is a technique that can be used to good effect in any painting medium that allows for transparency: oil, acrylic and watercolor being the main ones. However, while glazing is an important technique in both acrylics and watercolors, it is in oil painting that the true majesty of it becomes apparent. The reason for this is because of the physical nature of oil paints which make them different from other media.
Oil paint is essentially pigment mixed with a drying vegetable oil, typically linseed oil, although walnut and poppyseed oil can also be found in certain cases. When oil paint dries, the chemical properties of the oil actually change on a molecular level, becoming a totally different substance from the wet version. This is important because it means that when a wet layer of oil paint is layered over a dry one, the wet layer will stick to the dry one, since it has adhesive properties, but the two will always remain separate layers. With both watercolor and acrylic paint on the other hand, painting one layer over another results in a complete bonding of the two layers that results in one thick layer with stratifications of color. So the secret to the oil painting's beauty is the way that light reflects off the surface of the glazes.
Since glaze layers are translucent, the light passes through them until it reaches the opaque underpainting, then it is reflected back out through the glazes again and goes into the eyes of the viewer. With an acrylic or watercolor painting, the light reacts to the glazes as if they were all one layer, no matter how many layers went into the creation of the color, so it passes through the one layer, reflects off the underpainting and comes back out through that one layer, with the result being one-dimensional (so to speak). With an oil painting, the light passes through each layer as a separate stage before hitting the underpainting, and as the light passes from one layer to the next it becomes slightly refracted resulting in an increase in depth and richness to the color. So, if you have a painting that has three glazed layers on it, the light passes through each of those layers, refracting each time, reflects off of the underpainting and passes back through all three layers again, refracting even more and resulting in a much more complex and realistic looking color.
Now imagine the painting with ten layers of glaze, or twenty! This refraction of light through the translucent layers of glazed color is the secret to why those paintings in the museum look so great and, since this quality is unique to oil paint, it is one of the reasons why oil painting has never been eclipsed by newer varieties of paint like acrylic.
Although oil paint was in use for quite some time beforehand, the peculiar qualities of the glazing technique did not become apparent until the 1400's. The primary medium for painting up until that time was egg tempera, a type of paint that is very opaque and did not lend itself to glazing at all. The early experimenters with glazing still used egg tempera when creating the underpainting, which had it's advantages since egg tempera dries very rapidly. The most famous of these early experiments is the "Arnolfini Portrait" by the Dutch painter Jan van Eyck in 1434. The technique seems to have been immediately and spectacularly successful as is evident from the richness of the colors in this early work by a master artist. The possibilities were not lost on the art world of 15th century Europe and within the next hundred years oil paint came to supplant egg tempera almost completely. With the development and ensuing popularity of canvas as a support, tempera was no longer used even in the underpainting, so oil paint became the dominant painting medium for the next 500 or so years until the invention of acrylic polymer.
Next week we'll look at the actual process of how a painting is constructed using glaze layers!
Monday, November 8, 2010
This Week @ BINDERS - November 8-14
BINDERS HAPPENINGS
Treat yourself this holiday season with a gift of artistic knowledge! Sign up for Holiday Silk Painting Workshop with Hellene Vermillion on December 4th to see what the ancient art of silk dye painting is all about in this fun filled event! Join this accomplished silk painter and learn a few techniques used in creating silk dye painted scarves and paintings. Also, Anne Elser has several classes in Bookmaking and Calligraphy starting the week of December 6th. Learn the fundamentals of making books and boxes with a variety of materials and techniques. PLUS our list of classes, workshops and lectures is now posted from now til May 2011! Sign up online or stop by the store to reserve your space today!
ART CLASSES AND WORKSHOPS
Monday, November 8:
Guided Open Studio with Kay Powell
10:30am-1pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
FREE Copyright Seminar | Protecting Your Art, The Law with Deborah Gonzalez
6-8pm, Mon. Nov. 8 | For all levels & media | FREE
Tuesday, November 9:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Bookmaking Two: The Opened Book with Anne Elser
6-8:30pm, Tuesdays, 6 Sessions, Oct. 26-Nov. 30
Intermediate-Advanced | Fee: $155
Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Wednesday, November 10:
Calligraphy Two: Copperplate with Anne Elser
6-8:30pm, Wednesdays, 5 Sessions, Oct. 27-Dec. 1
Beginner-Intermediate | Fee: $135
Silk Dye Painting Basics with Hellenne Vermillion
5:30-8:30pm, Wednesdays, 5 Sessions, Oct. 13-Nov. 17 (no class Nov. 3)
Beginner to Intermediate | Some materials included in fee | Fee: $145
Mixed Media and Collage Class with Kay Powell
9:30am-12pm, Thursdays, 6 Sessions, Sept. 30-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135
No special art events today.
Sunday, November 14:
No special art events today
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
THE LIMELIGHT GALLERYThe Art School in Sandy Springs Student/Instructor Show
Showing November 1-14
Visit BINDERS website!
Treat yourself this holiday season with a gift of artistic knowledge! Sign up for Holiday Silk Painting Workshop with Hellene Vermillion on December 4th to see what the ancient art of silk dye painting is all about in this fun filled event! Join this accomplished silk painter and learn a few techniques used in creating silk dye painted scarves and paintings. Also, Anne Elser has several classes in Bookmaking and Calligraphy starting the week of December 6th. Learn the fundamentals of making books and boxes with a variety of materials and techniques. PLUS our list of classes, workshops and lectures is now posted from now til May 2011! Sign up online or stop by the store to reserve your space today!
ART CLASSES AND WORKSHOPS
Guided Open Studio with Kay Powell
10:30am-1pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
FREE Copyright Seminar | Protecting Your Art, The Law with Deborah Gonzalez
6-8pm, Mon. Nov. 8 | For all levels & media | FREE
Tuesday, November 9:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Bookmaking Two: The Opened Book with Anne Elser
6-8:30pm, Tuesdays, 6 Sessions, Oct. 26-Nov. 30
Intermediate-Advanced | Fee: $155
Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155
Wednesday, November 10:
Calligraphy Two: Copperplate with Anne Elser
6-8:30pm, Wednesdays, 5 Sessions, Oct. 27-Dec. 1
Beginner-Intermediate | Fee: $135
Silk Dye Painting Basics with Hellenne Vermillion
5:30-8:30pm, Wednesdays, 5 Sessions, Oct. 13-Nov. 17 (no class Nov. 3)
Beginner to Intermediate | Some materials included in fee | Fee: $145
Thursday, November 11:
Mixed Media and Collage Class with Kay Powell
9:30am-12pm, Thursdays, 6 Sessions, Sept. 30-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135
Friday, November 12:
No special art events today.
Saturday, November 13:
No special art events todaySunday, November 14:
No special art events today
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
THE LIMELIGHT GALLERYThe Art School in Sandy Springs Student/Instructor Show
Showing November 1-14
Visit BINDERS website!
Thursday, October 28, 2010
The Subject of Art #15: Titian and the Venetian Renaissance!
We have an unprecedented opportunity here in Atlanta to experience the wonder of painting on a truly masterpiece scale! The High Museum has opened a new exhibition, as of October 17th, entitled "Titian and the Golden Age of Venetian Painting," which features twenty five works by some of the most famous names in Western art history: Tintoretto, Veronese, Lotto and two very special works by the supreme painter of 16th century Venice, Titian. The exhibition represents a collaboration between the High Museum, the Minneapolis Institute of Arts and the Museum of Fine Arts, Houston, to bring this incredible array of artistic vision and talent over from the National Galleries in Scotland. It is particularly exciting since the two paintings by Titian have never traveled to the United States before, one of them having been purchased from a private collection less than two years ago. Let's take a look and the life and work of Titian and gain a better understanding of why he was so important in his day and remains so relevant now!
Tiziano Vecellio, known popularly as Titian, was born sometime in the late 15th century (the exact date is not known), to a well-to-do family in a small town in northern Italy. At a young age he was sent to Venice to become an apprentice to the painter Giovanni Bellini, who was the most successful artist in Venice at the time, where he learned all the basics of his craft. He then went on to serve as an assistant to the revered painter Giorgione, with whom he shares many stylistic traits. Some of the frescoes that he worked on during his time as an assistant can still be found in churches around Venice today. Giorgione died at a young age in 1510 and Giovanni Bellini passed on a few years later, leaving a vacuum in the art establishment of Venice which Titian boldly stepped into.
Fortunately for Titian (and all the rest of us), his talents as a painter were equal to his ambitions and his works soon became renowned and eagerly sought after throughout Europe. He was, on the one hand, a gifted portrait painter who was given the ultimate commission in 1548 to paint the state portrait of the Holy Roman Emperor, Charles V, and it is said that his portrait of Phillip II, the king of Spain, was instrumental in convincing England's Queen Mary to agree to marriage! However, Titian's true genius can be seen in his history paintings, with subjects ranging from Classical Mythology to the Bible to contemporary scenes of battles that had recently taken place. His ability to create complex compositions, full of chaotic movement that somehow resolves itself into the most beautiful harmonies, was unrivaled by anyone living at the time and placed him firmly in the same league as Michelangelo and Raphael. For the people in Europe during the 16th century, it was a great triumph to know that the brilliance of the great Renaissance master's was not just a momentary phenomenon, with the advent of Titian, they knew that there would continue to be great artists producing great works, each building on the pioneering works of their predecessors. Titian himself would go on to be one of the primary inspirations for the next generation of painters, including Rembrandt and Rubens, and he continues to inspire today.
The one thing that makes the work of Titian stand out, even from the giants of the Renaissance, was his amazing expertise with color. He had the eye and the skill to work out subtle, yet explosive, color harmonies that had a depth that went far beyond anything that had been seen before. While the art of someone like Michelangelo was based on a bold drawing style, Titian told his stories in color, with each shifting shade and hue carrying layers of meaning and wonder. It is this fantastic ability that still holds us spellbound today and makes Titian a worthy subject for the twenty-first century artist to study.
To that end, a trip to the High Museum to visit this exhibition will be worth far more than the price of admission to the true lover of art. The two paintings by Titian, "Diana and Callisto" and "Diana and Actaeon," painted in 1559, represent him at the height of his powers and fame and will allow you to get the full effect of his formidable talent.
We'll see you there and we also hope to see you at BINDERS Artfolio coming up the first weekend of November!
Tiziano Vecellio, known popularly as Titian, was born sometime in the late 15th century (the exact date is not known), to a well-to-do family in a small town in northern Italy. At a young age he was sent to Venice to become an apprentice to the painter Giovanni Bellini, who was the most successful artist in Venice at the time, where he learned all the basics of his craft. He then went on to serve as an assistant to the revered painter Giorgione, with whom he shares many stylistic traits. Some of the frescoes that he worked on during his time as an assistant can still be found in churches around Venice today. Giorgione died at a young age in 1510 and Giovanni Bellini passed on a few years later, leaving a vacuum in the art establishment of Venice which Titian boldly stepped into.
Fortunately for Titian (and all the rest of us), his talents as a painter were equal to his ambitions and his works soon became renowned and eagerly sought after throughout Europe. He was, on the one hand, a gifted portrait painter who was given the ultimate commission in 1548 to paint the state portrait of the Holy Roman Emperor, Charles V, and it is said that his portrait of Phillip II, the king of Spain, was instrumental in convincing England's Queen Mary to agree to marriage! However, Titian's true genius can be seen in his history paintings, with subjects ranging from Classical Mythology to the Bible to contemporary scenes of battles that had recently taken place. His ability to create complex compositions, full of chaotic movement that somehow resolves itself into the most beautiful harmonies, was unrivaled by anyone living at the time and placed him firmly in the same league as Michelangelo and Raphael. For the people in Europe during the 16th century, it was a great triumph to know that the brilliance of the great Renaissance master's was not just a momentary phenomenon, with the advent of Titian, they knew that there would continue to be great artists producing great works, each building on the pioneering works of their predecessors. Titian himself would go on to be one of the primary inspirations for the next generation of painters, including Rembrandt and Rubens, and he continues to inspire today.
The one thing that makes the work of Titian stand out, even from the giants of the Renaissance, was his amazing expertise with color. He had the eye and the skill to work out subtle, yet explosive, color harmonies that had a depth that went far beyond anything that had been seen before. While the art of someone like Michelangelo was based on a bold drawing style, Titian told his stories in color, with each shifting shade and hue carrying layers of meaning and wonder. It is this fantastic ability that still holds us spellbound today and makes Titian a worthy subject for the twenty-first century artist to study.
To that end, a trip to the High Museum to visit this exhibition will be worth far more than the price of admission to the true lover of art. The two paintings by Titian, "Diana and Callisto" and "Diana and Actaeon," painted in 1559, represent him at the height of his powers and fame and will allow you to get the full effect of his formidable talent.
We'll see you there and we also hope to see you at BINDERS Artfolio coming up the first weekend of November!
Monday, October 25, 2010
This Week @ BINDERS - October 25-31
BINDERS HAPPENINGS
BINDERS' biennial art materials exhibition, Artfolio, is less than two weeks away! Join us Friday, Nov. 5th, through Sunday, Nov. 7th, for an amazing series of lectures and demos on everything from canvas stretching to inkjet papers to encaustics! Check out the Artfolio page on our website for more information and a complete schedule of events.
This is the LAST week of BINDERS' Fall Sale! Stop in the store to get the best deals on canvas, sketchbooks, pencils, brushes and all the other basics that every artist needs while prices are at their lowest!
ART CLASSES and WORKSHOPS
Monday, October 25:
Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
Tuesday, October 26:
Bookmaking Two: The Opened Book with Anne Elser
6-8:30pm, Tuesdays, 6 Sessions, Oct. 26-Nov. 30
Intermediate-Advanced | Fee: $155
Wednesday, October 27:
Calligraphy Two: Copperplate with Anne Elser6-8:30pm, Wednesdays, 5 Sessions, Oct. 27-Dec. 1
Beginner-Intermediate | Fee: $135
Silk Dye Painting Basics with Hellenne Vermillion
5:30-8:30pm, Wednesdays, 5 Sessions, Oct. 13-Nov. 17 (no class Nov. 3)
Beginner to Intermediate | Some materials included in fee
Fee: $145 | Sign up now!
Mixed Media and Collage Class with Kay Powell
9:30am-12pm, Thursdays, 6 Sessions, Sept. 30-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135
Signature and Sound Opening Reception
3-5pm, Thurs. Oct. 28
No special art events today.
Beginning Adult Watercolor with Barry Sholder
11am-4pm, Sat. & Sun. Oct. 30-31
Beginner | Fee: $155 | Sign up now!
Sunday, October 31:
Beginning Adult Watercolor with Barry Sholder
12-5pm, Sat. & Sun. Oct. 30-31
Beginner | Fee: $155 | Sign up now!
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
THE LIMELIGHT GALLERY
Visit BINDERS website!
BINDERS' biennial art materials exhibition, Artfolio, is less than two weeks away! Join us Friday, Nov. 5th, through Sunday, Nov. 7th, for an amazing series of lectures and demos on everything from canvas stretching to inkjet papers to encaustics! Check out the Artfolio page on our website for more information and a complete schedule of events.
This is the LAST week of BINDERS' Fall Sale! Stop in the store to get the best deals on canvas, sketchbooks, pencils, brushes and all the other basics that every artist needs while prices are at their lowest!
ART CLASSES and WORKSHOPS
Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
Tuesday, October 26:
Bookmaking Two: The Opened Book with Anne Elser
6-8:30pm, Tuesdays, 6 Sessions, Oct. 26-Nov. 30
Intermediate-Advanced | Fee: $155
Wednesday, October 27:
Calligraphy Two: Copperplate with Anne Elser6-8:30pm, Wednesdays, 5 Sessions, Oct. 27-Dec. 1
Beginner-Intermediate | Fee: $135
Silk Dye Painting Basics with Hellenne Vermillion
5:30-8:30pm, Wednesdays, 5 Sessions, Oct. 13-Nov. 17 (no class Nov. 3)
Beginner to Intermediate | Some materials included in fee
Fee: $145 | Sign up now!
Thursday, October 28:
Mixed Media and Collage Class with Kay Powell
9:30am-12pm, Thursdays, 6 Sessions, Sept. 30-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135
Signature and Sound Opening Reception
3-5pm, Thurs. Oct. 28
Friday, October 29:
No special art events today.
Saturday, October 30:
Beginning Adult Watercolor with Barry Sholder
11am-4pm, Sat. & Sun. Oct. 30-31
Beginner | Fee: $155 | Sign up now!
Sunday, October 31:
Beginning Adult Watercolor with Barry Sholder
12-5pm, Sat. & Sun. Oct. 30-31
Beginner | Fee: $155 | Sign up now!
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
THE LIMELIGHT GALLERY
Visit BINDERS website!
Thursday, October 14, 2010
Tips & Tricks #13: Drips & Splatters - Pollock's Technique in the 21st Century
Jackson Pollock became an icon of Modern Art in the 1950's by daring to break down the concept of painting to an apparently random looking assortment of drips and splatters on the canvas. A first glance at one of Mr. Pollock's paintings has often elicited the response "My kid can paint better than that!", but upon further reflection and by investigating his body of work, one can clearly see that there was much more going on than it seems on the surface and that what looked to be a simple, mindless way of putting paint on a canvas was in fact far more complex.
Although one painting by itself may not appear to make much sense, viewing several of Pollock's paintings in a row, or better yet being surrounded by them in an exhibition, one can see the repetitive motifs that run through them - the broad arcs of paint that trace the extent of his arm's reach or the sinuous, vine-like lines that echo his signature flick of fluid paint off of the brush. If one chooses to step just a little bit further into Pollock's world, it becomes clear that there was a great deal of forethought and intention behind every mark and that the use of his controversial technique was another way to break down the barriers of the viewers preconceptions about what constitutes a works of art.
Jackson Pollock's paintings began with a primed, but unstretched, canvas laid out on the floor. The fact that the canvas was not on a frame was important since the scale of the work was usually very large, so it would be necessary for him to actually step on the canvas at certain times while painting. The brushes that Pollock favored were old house painting brushes that had hardened with dried paint until they became totally stiff. These afforded him the grip and balance of a brush, while allowing for a hard end like a stick that enabled greater control over the paint as it fell off the brush. Finally, his paint had to be thinned to just the right consistency to allow it to drip and flow freely, but still be thick enough to be easily guided by his hand and to leave coherent lines on the canvas. For most of his career, he used traditional oil paints that were thinned with the right amount of turpentine, but by the height of his output he was already experimenting with other mediums, particularly enamel paints that were usually used for house painting or industrial purposes. He liked the enamels because they were just the right consistency for his dripping and pouring technique right out of the can, so no thinning was needed, plus he took an interest in colors that had a metallic sheen, that were not available as pigments for oil paint at that time. Unfortunately, oil paints and enamels don't mix together, which is one of several reasons why Pollock's paintings are very fragile and difficult to maintain. There is actually a group of conservators whose entire job is to work on Pollock's paintings and make sure they stay in one piece! The materials of his time just weren't up to the standards that he needed to fulfill his visions.
If Jackson Pollock were alive and working today, the story would be quite different! Fluid acrylic paints would have provided much of the paint consistency he was looking for, pre-mixed into the full spectrum of colors required by fine artists and including a range of metallic colors. His techniques made no use of blending colors, so the switch from oil to acrylic paint would most likely have been very natural for him. In addition, there are now a couple of acrylic mediums that can be added to the paint that are specifically designed to create spectacular dripping effects, inspired by Pollock's example!
Tar Gel by Golden and String Gel by Liquitex are essentially two versions of a medium that, when mixed with fluid acrylics, gives a honey-like consistency to the paints. After adding the gel to the paint and mixing thoroughly, one should wait about ten minutes or so to let the air bubbles rise up and out before using it. Then, with a palette knife, or perhaps Pollock's favorite - the stiff, paint-hardened brush, you can scoop up some of the mixture and let it drip off to create long lines. Golden claims their Tar Gel has sufficient consistency to hold together in a solid line that reaches three stories! Both the Tar and String Gels are thick enough to allow for an unprecedented level of control when dripping, so the possibilities for intentional technique become much greater.
Liquitex has recently created another product called Pouring Medium which can, as the name suggests, allow the fluid acrylics to be poured more easily onto the canvas. Like the Tar and String Gels, color should be mixed into the medium first and then it should be left for a few minutes to allow the air to escape. The special qualities of the Pouring Medium will become more apparent as it hits the surface of the canvas, because the medium has been formulated to mix colors in a very special way. When one color mixed with Pouring Medium is dripped over another color mixed with Pouring Medium, the two colors will puddle together and form all sorts of organic lines and flowing shapes, an effect which is known as marbling.
These are just a few examples of the ways in which the work of a pioneering artist can help the evolution of art as a whole, opening up new techniques and methods of expression that we can all enjoy. Thank you Mr. Pollock!
Although one painting by itself may not appear to make much sense, viewing several of Pollock's paintings in a row, or better yet being surrounded by them in an exhibition, one can see the repetitive motifs that run through them - the broad arcs of paint that trace the extent of his arm's reach or the sinuous, vine-like lines that echo his signature flick of fluid paint off of the brush. If one chooses to step just a little bit further into Pollock's world, it becomes clear that there was a great deal of forethought and intention behind every mark and that the use of his controversial technique was another way to break down the barriers of the viewers preconceptions about what constitutes a works of art.
Jackson Pollock's paintings began with a primed, but unstretched, canvas laid out on the floor. The fact that the canvas was not on a frame was important since the scale of the work was usually very large, so it would be necessary for him to actually step on the canvas at certain times while painting. The brushes that Pollock favored were old house painting brushes that had hardened with dried paint until they became totally stiff. These afforded him the grip and balance of a brush, while allowing for a hard end like a stick that enabled greater control over the paint as it fell off the brush. Finally, his paint had to be thinned to just the right consistency to allow it to drip and flow freely, but still be thick enough to be easily guided by his hand and to leave coherent lines on the canvas. For most of his career, he used traditional oil paints that were thinned with the right amount of turpentine, but by the height of his output he was already experimenting with other mediums, particularly enamel paints that were usually used for house painting or industrial purposes. He liked the enamels because they were just the right consistency for his dripping and pouring technique right out of the can, so no thinning was needed, plus he took an interest in colors that had a metallic sheen, that were not available as pigments for oil paint at that time. Unfortunately, oil paints and enamels don't mix together, which is one of several reasons why Pollock's paintings are very fragile and difficult to maintain. There is actually a group of conservators whose entire job is to work on Pollock's paintings and make sure they stay in one piece! The materials of his time just weren't up to the standards that he needed to fulfill his visions.
If Jackson Pollock were alive and working today, the story would be quite different! Fluid acrylic paints would have provided much of the paint consistency he was looking for, pre-mixed into the full spectrum of colors required by fine artists and including a range of metallic colors. His techniques made no use of blending colors, so the switch from oil to acrylic paint would most likely have been very natural for him. In addition, there are now a couple of acrylic mediums that can be added to the paint that are specifically designed to create spectacular dripping effects, inspired by Pollock's example!
Tar Gel by Golden and String Gel by Liquitex are essentially two versions of a medium that, when mixed with fluid acrylics, gives a honey-like consistency to the paints. After adding the gel to the paint and mixing thoroughly, one should wait about ten minutes or so to let the air bubbles rise up and out before using it. Then, with a palette knife, or perhaps Pollock's favorite - the stiff, paint-hardened brush, you can scoop up some of the mixture and let it drip off to create long lines. Golden claims their Tar Gel has sufficient consistency to hold together in a solid line that reaches three stories! Both the Tar and String Gels are thick enough to allow for an unprecedented level of control when dripping, so the possibilities for intentional technique become much greater.
Liquitex has recently created another product called Pouring Medium which can, as the name suggests, allow the fluid acrylics to be poured more easily onto the canvas. Like the Tar and String Gels, color should be mixed into the medium first and then it should be left for a few minutes to allow the air to escape. The special qualities of the Pouring Medium will become more apparent as it hits the surface of the canvas, because the medium has been formulated to mix colors in a very special way. When one color mixed with Pouring Medium is dripped over another color mixed with Pouring Medium, the two colors will puddle together and form all sorts of organic lines and flowing shapes, an effect which is known as marbling.
These are just a few examples of the ways in which the work of a pioneering artist can help the evolution of art as a whole, opening up new techniques and methods of expression that we can all enjoy. Thank you Mr. Pollock!
Tuesday, October 12, 2010
This Week @ BINDERS - October 11-17
BINDERS HAPPENINGS
Preparations for Artfolio are heating up so save the date for Fri. Nov. 5 - Sun. Nov. 7! Check out the our website to see a schedule of presenters and descriptions of the techniques and products they'll be using. We're going to have the experts doing demonstrations on Prismacolor pencils, Shiva Paintstiks, Origami, Screen Printing, Mold-making and Casting, the list goes on and on! This is going to be one heck of a weekend, so plan on being here!
ART CLASSES and WORKSHOPS
Monday, October 11:
Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
Contemporary Gold Leaf 1 with Shannon Forester
1-4pm, Mondays, 5 Sessions, Sept.13-Oct.11
Beginners to Intermediate (includes some materials) | Fee: $170
Tuesday, October 12:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Sept.14-Oct.19, | Open to all levels | Fee: $155
Bookmaking 1: Beginning Bookmaking with Anne Elser
1:30-4pm, Tuesdays, 6 sessions, Sept. 7-Oct. 12
Beginning-Intermediate | Fee: $155
Painting-Design and Technique with Charles Y. Walls
6-8:30pm, see details above
Bookmaking 1: Beginning Bookmaking with Anne Elser
6:30-8pm, see details above
Wednesday, October 13:
Acrylic Painting, Impressionist-Style with J.Z.Torre
1-4pm, Wednesdays, 6 Sessions, Sept.15-Oct.20
For Advanced Beginners to Intermediate | Fee: $175
Silk Dye Painting Basics with Hellenne Vermillion
5:30-8:30pm, Wednesdays, 5 Sessions, Oct. 13-Nov. 17 (no class Nov. 3)
Beginner to Intermediate | Some materials included in fee
Fee: $145 | Sign up now!
Calligraphy One: Italic with Anne Elser
6-8:30pm, Wednesdays, 6 sessions, Sept. 8-Oct.13
Beginner-Intermediate | Fee: $155
Mixed Media and Collage Class with Kay Powell
9:30am-12pm, Thursdays, 6 Sessions, Sept. 30-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135
Block Printing 1: Beginning Printmaking with Atlanta Printmakers Studio
1-4pm, Thursdays, 4 sessions, Oct. 14-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135 | Sign up now!
Block Printing 1: Beginning Printmaking with Atlanta Printmakers Studio
6-8:30pm, Thursdays, 4 sessions, Oct. 14-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135 | Sign up now!
Time Travelers with Barbara Bailey
4-5:30pm, Fridays, 6 Sessions, Sept. 10-Oct. 15
For children in Grades 3-5 | materials included | Fee: $125
Collapsible Container Workshop with Anne Elser
10:30am-5:30pm, Sat. & Sun. Oct. 16-17 | Open to all levels | Fee: $155 | Sign up now!
Sunday, October 17:
Collapsible Container Workshop with Anne Elser
11:30am-6pm, Sat. & Sun. Oct. 16-17 | Open to all levels | Fee: $155 | Sign up now!
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
THE LIMELIGHT GALLERY
Visit BINDERS website!
Preparations for Artfolio are heating up so save the date for Fri. Nov. 5 - Sun. Nov. 7! Check out the our website to see a schedule of presenters and descriptions of the techniques and products they'll be using. We're going to have the experts doing demonstrations on Prismacolor pencils, Shiva Paintstiks, Origami, Screen Printing, Mold-making and Casting, the list goes on and on! This is going to be one heck of a weekend, so plan on being here!
ART CLASSES and WORKSHOPS
Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
Contemporary Gold Leaf 1 with Shannon Forester
1-4pm, Mondays, 5 Sessions, Sept.13-Oct.11
Beginners to Intermediate (includes some materials) | Fee: $170
Tuesday, October 12:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Sept.14-Oct.19, | Open to all levels | Fee: $155
Bookmaking 1: Beginning Bookmaking with Anne Elser
1:30-4pm, Tuesdays, 6 sessions, Sept. 7-Oct. 12
Beginning-Intermediate | Fee: $155
Painting-Design and Technique with Charles Y. Walls
6-8:30pm, see details above
Bookmaking 1: Beginning Bookmaking with Anne Elser
6:30-8pm, see details above
Wednesday, October 13:
Acrylic Painting, Impressionist-Style with J.Z.Torre
1-4pm, Wednesdays, 6 Sessions, Sept.15-Oct.20
For Advanced Beginners to Intermediate | Fee: $175
Silk Dye Painting Basics with Hellenne Vermillion
5:30-8:30pm, Wednesdays, 5 Sessions, Oct. 13-Nov. 17 (no class Nov. 3)
Beginner to Intermediate | Some materials included in fee
Fee: $145 | Sign up now!
Calligraphy One: Italic with Anne Elser
6-8:30pm, Wednesdays, 6 sessions, Sept. 8-Oct.13
Beginner-Intermediate | Fee: $155
Thursday, October 14:
Mixed Media and Collage Class with Kay Powell
9:30am-12pm, Thursdays, 6 Sessions, Sept. 30-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135
Block Printing 1: Beginning Printmaking with Atlanta Printmakers Studio
1-4pm, Thursdays, 4 sessions, Oct. 14-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135 | Sign up now!
Block Printing 1: Beginning Printmaking with Atlanta Printmakers Studio
6-8:30pm, Thursdays, 4 sessions, Oct. 14-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135 | Sign up now!
Friday, October 15:
Time Travelers with Barbara Bailey
4-5:30pm, Fridays, 6 Sessions, Sept. 10-Oct. 15
For children in Grades 3-5 | materials included | Fee: $125
Saturday, October 16:
Collapsible Container Workshop with Anne Elser
10:30am-5:30pm, Sat. & Sun. Oct. 16-17 | Open to all levels | Fee: $155 | Sign up now!
Sunday, October 17:
Collapsible Container Workshop with Anne Elser
11:30am-6pm, Sat. & Sun. Oct. 16-17 | Open to all levels | Fee: $155 | Sign up now!
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
THE LIMELIGHT GALLERY
Visit BINDERS website!
Wednesday, October 6, 2010
The Subject of Art #14: The History of Colors, Chapter 5: The Organic Revolution!
Contrary to what you may associate with this subject, this final chapter on color is not about food, it's about the shift in modern times towards an organic way of thinking. Most of the pigments we've looked at in previous chapters were inorganic, being derived from metals and minerals. Unfortunately, mining for these inorganic pigments is a labor and/or cost intensive process, so artists, alchemists and scientists from all different time periods have always been searching for better alternatives.
The solution, however, did not come about until relatively recently, when advances in organic chemistry made it possible to create whatever colors we desired from their component parts. After that, the spectrum of color exploded into a whole new rainbow of bright, lightfast variations and completed the range of hues that we are familiar with today and that you can find in the paint aisles at BINDERS.
Organic pigments have always been known and used since humans began coloring things. In our previous explorations, we have touch upon a couple: Indigo, which is derived from plants, Tyrian Purple, which comes from an insect called the cochineal, and Indian Yellow, which is derived from the urine of cows who were fed a steady diet of mango leaves. There were many others in use for thousands of years as well, most prominently the root of the madder plant, which produces a bright crimson red color (which was the red used for centuries in the uniforms of British soldiers, the Redcoats!).
Without exception these pigments derived from plant and animal sources are quite unstable, being very likely to fade over short periods of time, so, while these natural organic pigments were often used by artists, if a suitable inorganic pigment became available that filled the same niche in the color wheel then the organic one would usually be dropped right away. Natural organic colors were most popular in the textile industry as ingredients for dyes, which makes more sense because one might expect clothing not to last for more than a few years of heavy use anyway, plus they could always be re-dyed at some point if desired (which is not a particularly easy thing do do with a painting!).
The aforementioned madder root became the first natural organic pigment to be replaced by a synthetic pigment, which we know today as Alizarin Crimson, in 1869. The chemical compound Anthracene was synthesized from coal-tar, a byproduct of the industrial production of coke, which was used as fuel for stoves and furnaces and for smelting iron. Once the chemical process for production of Alizarin Crimson was perfected, the madder root dye industry collapsed practically overnight, a sequence of events that would occur repeatedly as scientists discovered and developed synthetic versions of organic colors that were brighter, more durable and cost less to manufacture. The original Alizarin Crimson pigment is still in use 150 years later, although its lightfastness rating is low compared to the colors that would be produced in later centuries. The newer versions are usually a mixture of two or more synthetic organic pigments labelled as Alizarin Permanent or Alizarin Crimson Hue.
The phenomenal advancements that occurred in pigments during the 20th century were largely the result of industrial manufacturing and the requirements of objects in everyday life to be brightly colored, with the application of those pigments filtering their way into the artist's palette after they had been thoroughly tested out in the world. The first leap forward occurred in the 1930's with the development of Phthalocyanine Blue, which was originally created as a more stable cyan color for the printing industry. The intensity and durability of Phthalo Blue made it suitable for all sorts of applications and sparked off a rush of research into pigments synthesized from the carbon molecules found in petroleum. The chemical structure of these synthetic organic pigments is similar to plastic, so as the plastics industry advanced, so to did the science of color production. Phthalo Blue was quickly followed by Phthalo Green, while new organic compounds helped to fill out the color spectrum. The automobile industry had a lot to do with the development of a wide range of colors, since car paint needs to be extremely durable and people like having cars that are bright and shiny. Synthetics like Quinacridone Red and Arylamide Yellow (also called Hansa Yellow), helped to fill that need.
From the point of view of fine artists, the color range was expanded tremendously, and furthermore, the synthetic organics are very pure, "clean" colors, with very little gray or brown undertones. A certain amount of "muddying up" the colors was found to be necessary to achieve a more natural look, since the real world actually has a whole lot of gray and brown in it! As these new pigments were initially being assimilated into the art materials industry, many paint producers felt that the chemical names of the pigments sounded entirely too scientific and intimidating, so Phthalocyanine Blue became Winsor Blue for the Winsor and Newton company, and Naphthol Red became Grumbacher Red for the Grumbacher company. It's worth noting that, at least in the United States, paint manufacturers are required to list the pigments used for a particular color on the paint tube or jar, so you can look there to see exactly which pigments are being used to create it.
So this is where we stand today! We've gone a long way from digging up red and yellow dirt all the way to the modern organic chemist's laboratory and it's unlikely to end there. Who knows what the future may hold?
The solution, however, did not come about until relatively recently, when advances in organic chemistry made it possible to create whatever colors we desired from their component parts. After that, the spectrum of color exploded into a whole new rainbow of bright, lightfast variations and completed the range of hues that we are familiar with today and that you can find in the paint aisles at BINDERS.
Organic pigments have always been known and used since humans began coloring things. In our previous explorations, we have touch upon a couple: Indigo, which is derived from plants, Tyrian Purple, which comes from an insect called the cochineal, and Indian Yellow, which is derived from the urine of cows who were fed a steady diet of mango leaves. There were many others in use for thousands of years as well, most prominently the root of the madder plant, which produces a bright crimson red color (which was the red used for centuries in the uniforms of British soldiers, the Redcoats!).
Without exception these pigments derived from plant and animal sources are quite unstable, being very likely to fade over short periods of time, so, while these natural organic pigments were often used by artists, if a suitable inorganic pigment became available that filled the same niche in the color wheel then the organic one would usually be dropped right away. Natural organic colors were most popular in the textile industry as ingredients for dyes, which makes more sense because one might expect clothing not to last for more than a few years of heavy use anyway, plus they could always be re-dyed at some point if desired (which is not a particularly easy thing do do with a painting!).
The aforementioned madder root became the first natural organic pigment to be replaced by a synthetic pigment, which we know today as Alizarin Crimson, in 1869. The chemical compound Anthracene was synthesized from coal-tar, a byproduct of the industrial production of coke, which was used as fuel for stoves and furnaces and for smelting iron. Once the chemical process for production of Alizarin Crimson was perfected, the madder root dye industry collapsed practically overnight, a sequence of events that would occur repeatedly as scientists discovered and developed synthetic versions of organic colors that were brighter, more durable and cost less to manufacture. The original Alizarin Crimson pigment is still in use 150 years later, although its lightfastness rating is low compared to the colors that would be produced in later centuries. The newer versions are usually a mixture of two or more synthetic organic pigments labelled as Alizarin Permanent or Alizarin Crimson Hue.
The phenomenal advancements that occurred in pigments during the 20th century were largely the result of industrial manufacturing and the requirements of objects in everyday life to be brightly colored, with the application of those pigments filtering their way into the artist's palette after they had been thoroughly tested out in the world. The first leap forward occurred in the 1930's with the development of Phthalocyanine Blue, which was originally created as a more stable cyan color for the printing industry. The intensity and durability of Phthalo Blue made it suitable for all sorts of applications and sparked off a rush of research into pigments synthesized from the carbon molecules found in petroleum. The chemical structure of these synthetic organic pigments is similar to plastic, so as the plastics industry advanced, so to did the science of color production. Phthalo Blue was quickly followed by Phthalo Green, while new organic compounds helped to fill out the color spectrum. The automobile industry had a lot to do with the development of a wide range of colors, since car paint needs to be extremely durable and people like having cars that are bright and shiny. Synthetics like Quinacridone Red and Arylamide Yellow (also called Hansa Yellow), helped to fill that need.
From the point of view of fine artists, the color range was expanded tremendously, and furthermore, the synthetic organics are very pure, "clean" colors, with very little gray or brown undertones. A certain amount of "muddying up" the colors was found to be necessary to achieve a more natural look, since the real world actually has a whole lot of gray and brown in it! As these new pigments were initially being assimilated into the art materials industry, many paint producers felt that the chemical names of the pigments sounded entirely too scientific and intimidating, so Phthalocyanine Blue became Winsor Blue for the Winsor and Newton company, and Naphthol Red became Grumbacher Red for the Grumbacher company. It's worth noting that, at least in the United States, paint manufacturers are required to list the pigments used for a particular color on the paint tube or jar, so you can look there to see exactly which pigments are being used to create it.
So this is where we stand today! We've gone a long way from digging up red and yellow dirt all the way to the modern organic chemist's laboratory and it's unlikely to end there. Who knows what the future may hold?
Monday, October 4, 2010
This Week @ BINDERS - October 4-10
BINDERS HAPPENINGS
SAVE THE DATE for Artfolio! Mark your calendars for Fri. Nov. 5 through Sun. Nov. 7. Come try new products or the products you've always wanted to learn how to use and join us for product and technique showcases from the best in the business (at our Atlanta location).
Our Fall Sale continues through the end of this month, so you can still save even more than usual on sketchbooks, canvases, brushes and all the rest of the most basic things every artist needs.
ART CLASSES & WORKSHOPS
Monday, October 4:
Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
Contemporary Gold Leaf 1 with Shannon Forester
1-4pm, Mondays, 5 Sessions, Sept.13-Oct.11
Beginners to Intermediate (includes some materials) | Fee: $170
Tuesday, October 5:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Sept.14-Oct.19, | Open to all levels | Fee: $155
Bookmaking 1: Beginning Bookmaking with Anne Elser
1:30-4pm, Tuesdays, 6 sessions, Sept. 7-Oct. 12
Beginning-Intermediate | Fee: $155
Painting-Design and Technique with Charles Y. Walls
6-8:30pm, see details above
Bookmaking 1: Beginning Bookmaking with Anne Elser
6:30-8pm, see details above
Wednesday, October 6:
Acrylic Painting, Impressionist-Style with J.Z.Torre
1-4pm, Wednesdays, 6 Sessions, Sept.15-Oct.20
For Advanced Beginners to Intermediate | Fee: $175
Silk Dye Painting Basics with Hellenne Vermillion
5:30-8:30pm, Wednesdays, 6 Sessions, Sept. 1-Oct. 6
Beginner to Intermediate | Fee: $170
Calligraphy One: Italic with Anne Elser
6-8:30pm, Wednesdays, 6 sessions, Sept. 8-Oct.13
Beginner-Intermediate | Fee: $155
Mixed Media and Collage Class with Kay Powell
9:30am-12pm, Thursdays, 6 Sessions, Sept. 30-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135 | Sign up now!
Watercolor: Mixing, Color Theory & Application with Susan Bradford
6-8:30pm, Thursdays, 6 Sessions, Sept. 2-Oct. 7
Beginner to Intermediate | Fee: $155
Time Travelers with Barbara Bailey
4-5:30pm, Fridays, 6 Sessions, Sept. 10-Oct. 15
For children in Grades 3-5 | materials included | Fee: $125
10:30am-5:30pm, Sat. & Sun. Oct. 9-10, Fee: $155 | Sign up today!
Sunday, October 10:
Button Closure Workshop with Anne Elser
11:30am-6pm, Sat. & Sun. Oct. 9-10, Fee: $155 | Sign up today!
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
Brushstrokes 3rd Annual “Signature Art Show and Sale” at TULA Art Center Gallery O-2 75 Bennett St. Atlanta, GA 30309
Opening Event: “Cocktails and Canvas”
Thursday, October 7th 5 to 9pm
Gallery Hours: From 11am to 6pm
Friday 8th, Sat.9th & Sun.10th
A portion of sales will be donated to THE JAY SHAPIRO ARTS LEGACY FOUNDATION
Artwork by: Phyllis Adilman | Cheryl Alifeld | Christine Bray | Judy Clark | Suzanne Engel | Diane Hooker | Jill Krischer | Cindi Rawlins | Fran Scher | Shirley Seguin | Diane Shaftman | Marta L. Suarez | Lynn Tolleson | Amelia Wilson
Visit BINDERS website!
SAVE THE DATE for Artfolio! Mark your calendars for Fri. Nov. 5 through Sun. Nov. 7. Come try new products or the products you've always wanted to learn how to use and join us for product and technique showcases from the best in the business (at our Atlanta location).
Our Fall Sale continues through the end of this month, so you can still save even more than usual on sketchbooks, canvases, brushes and all the rest of the most basic things every artist needs.
ART CLASSES & WORKSHOPS
Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.
Contemporary Gold Leaf 1 with Shannon Forester
1-4pm, Mondays, 5 Sessions, Sept.13-Oct.11
Beginners to Intermediate (includes some materials) | Fee: $170
Tuesday, October 5:
Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Sept.14-Oct.19, | Open to all levels | Fee: $155
Bookmaking 1: Beginning Bookmaking with Anne Elser
1:30-4pm, Tuesdays, 6 sessions, Sept. 7-Oct. 12
Beginning-Intermediate | Fee: $155
Painting-Design and Technique with Charles Y. Walls
6-8:30pm, see details above
Bookmaking 1: Beginning Bookmaking with Anne Elser
6:30-8pm, see details above
Wednesday, October 6:
Acrylic Painting, Impressionist-Style with J.Z.Torre
1-4pm, Wednesdays, 6 Sessions, Sept.15-Oct.20
For Advanced Beginners to Intermediate | Fee: $175
Silk Dye Painting Basics with Hellenne Vermillion
5:30-8:30pm, Wednesdays, 6 Sessions, Sept. 1-Oct. 6
Beginner to Intermediate | Fee: $170
Calligraphy One: Italic with Anne Elser
6-8:30pm, Wednesdays, 6 sessions, Sept. 8-Oct.13
Beginner-Intermediate | Fee: $155
Thursday, October 7:
Mixed Media and Collage Class with Kay Powell
9:30am-12pm, Thursdays, 6 Sessions, Sept. 30-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135 | Sign up now!
Watercolor: Mixing, Color Theory & Application with Susan Bradford
6-8:30pm, Thursdays, 6 Sessions, Sept. 2-Oct. 7
Beginner to Intermediate | Fee: $155
Friday, October 8:
Time Travelers with Barbara Bailey
4-5:30pm, Fridays, 6 Sessions, Sept. 10-Oct. 15
For children in Grades 3-5 | materials included | Fee: $125
Saturday, October 9:
Button Closure Workshop with Anne Elser10:30am-5:30pm, Sat. & Sun. Oct. 9-10, Fee: $155 | Sign up today!
Sunday, October 10:
Button Closure Workshop with Anne Elser
11:30am-6pm, Sat. & Sun. Oct. 9-10, Fee: $155 | Sign up today!
Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.
Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!
Brushstrokes 3rd Annual “Signature Art Show and Sale” at TULA Art Center Gallery O-2 75 Bennett St. Atlanta, GA 30309
Opening Event: “Cocktails and Canvas”
Thursday, October 7th 5 to 9pm
Gallery Hours: From 11am to 6pm
Friday 8th, Sat.9th & Sun.10th
A portion of sales will be donated to THE JAY SHAPIRO ARTS LEGACY FOUNDATION
Artwork by: Phyllis Adilman | Cheryl Alifeld | Christine Bray | Judy Clark | Suzanne Engel | Diane Hooker | Jill Krischer | Cindi Rawlins | Fran Scher | Shirley Seguin | Diane Shaftman | Marta L. Suarez | Lynn Tolleson | Amelia Wilson
Visit BINDERS website!
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